Partenia, A Pastoral Play: A Bilingual Edition (Volume 22) (The Other Voice in Early Modern Europe: The Toronto Series) [Bilingual ed.] 077272136X, 9780772721365

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Barbara Torelli Benedetti

Partenia, a Pastoral Play a bilingual edition E d i te d a nd tr a nslate d b y

Lisa Sampson & Barbara Burgess-Van Aken

The Other Voice in Early Modern Europe: The Toronto Series, 22

PARTENIA, A PASTORAL PLAY

The Other Voice in Early Modern Europe: The Toronto Series, 22

The Other Voice in Early Modern Europe: The Toronto Series

S e r ie S ed i to r S Margaret L. King and Albert Rabil, Jr. S e r ie S ed i to r , e ng l i S h te x tS Elizabeth H. Hageman

Previous Publications in the Series Madre María Rosa Journey of Five Capuchin Nuns Edited and translated by Sarah E. Owens 2009 Giovan Battista Andreini Love in the Mirror: A Bilingual Edition Edited and translated by Jon R. Snyder 2009 Raymond de Sabanac and Simone Zanacchi Two Women of the Great Schism: The Revelations of Constance de Rabastens by Raymond de Sabanac and Life of the Blessed Ursulina of Parma by Simone Zanacchi Edited and translated by Renate Blumenfeld-Kosinski and Bruce L. Venarde 2010 Oliva Sabuco de Nantes Barrera The True Medicine Edited and translated by Gianna Pomata 2010

Louise-Geneviève Gillot de Sainctonge Dramatizing Dido, Circe, and Griselda Edited and translated by Janet Levarie Smarr 2010 Pernette du Guillet Complete Poems: A Bilingual Edition Edited by Karen Simroth James Translated by Marta Rijn Finch 2010 Antonia Pulci Saints’ Lives and Bible Stories for the Stage: A Bilingual Edition Edited by Elissa B. Weaver Translated by James Wyatt Cook 2010 Valeria Miani Celinda, A Tragedy: A Bilingual Edition Edited by Valeria Finucci Translated by Julia Kisacky Annotated by Valeria Finucci and Julia Kisacky 2010

The Other Voice in Early Modern Europe: The Toronto Series

Se r ie S ed i to r S Margaret L. King and Albert Rabil, Jr. Se r ie S ed i to r , e ng l i S h te x tS Elizabeth H. Hageman

Previous Publications in the Series Enchanted Eloquence: Fairy Tales by Seventeenth-Century French Women Writers Edited and translated by Lewis C. Seifert and Domna C. Stanton 2010

Liubov Krichevskaya No Good without Reward: Selected Writings: A Bilingual Edition Edited and translated by Brian James Baer 2011

Leibniz and the Two Sophies: The Philosophical Correspondence Edited and translated by Lloyd Strickland 2011

Elizabeth Cooke Hoby Russell The Writings of an English Sappho Edited by Patricia Phillippy With translations by Jaime Goodrich 2011

In Dialogue with the Other Voice in Sixteenth-Century Italy: Literary and Social Contexts for Women’s Writing Edited by Julie D. Campbell and Maria Galli Stampino 2011

Lucrezia Marinella Exhortations to Women and to Others if They Please Edited and translated by Laura Benedetti 2012

Sister Giustina Niccolini The Chronicle of Le Murate Edited and translated by Saundra Weddle 2011

Margherita Datini Letters to Francesco Datini Translated by Carolyn James and Antonio Pagliaro 2012

The Other Voice in Early Modern Europe: The Toronto Series

Se r ie S ed i to r S Margaret L. King and Albert Rabil, Jr. Se r ie S ed i to r , e ng l i S h te x tS Elizabeth H. Hageman

Previous Publications in the Series Delarivier Manley & Mary Pix English Women Staging Islam, 1696–1707 Edited and translated by Bernadette Andrea 2012 Cecilia Del Nacimiento Journeys of a Mystic Soul in Poetry and Prose Introduction and prose translations by Kevin Donnelly Poetry translations by Sandra Sider 2012 Lady Margaret Douglas and Others The Devonshire Manuscript: A Women’s Book of Courtly Poetry Edited and introduced by Elizabeth Heale 2012

Arcangela Tarabotti Letters Familiar and Formal Edited and translated by Meredith K. Ray and Lynn Lara Westwater 2012 Three Spanish Querelle Texts: Grisel and Mirabella, The Slander against Women, and The Defense of Ladies against Slanderers Edited by Emily C. Francomano 2013

Partenia, a Pastoral Play A Bilingual Edition BARBARA TORELLI BENEDETTI •

Edited and translated by LISA SAMPSON AND BARBARA BURGESS-VAN AKEN

Iter Inc. Centre for Reformation and Renaissance Studies Toronto 2013

Iter: Gateway to the Middle Ages and Renaissance Tel: 416/978–7074 Email: [email protected] Fax: 416/978–1668

Web: www.itergateway.org

Centre for Reformation and Renaissance Studies Victoria University in the University of Toronto Tel: 416/585–4465 Email: [email protected] Fax: 416/585–4430 Web: www.crrs.ca © 2013 Iter Inc. & Centre for Reformation and Renaissance Studies All rights reserved. Printed in Canada. Iter and the Centre for Reformation and Renaissance Studies gratefully acknowledge the generous support of James E. Rabil, in memory of Scottie W. Rabil, toward the publication of this book. Library and Archives Canada Cataloguing in Publication Benedetti, Barbara Torelli, b. 1546 [Partenia, favola boschereccia. English & Italian] Partenia, a pastoral play : a bilingual edition / Barbara Torelli Benedetti ; edited and translated by Lisa Sampson and Barbara Burgess-Van Aken. (Other voice in early modern Europe. Toronto series ; 22) Includes bibliographical references and index. Issued also in electronic format. Text in English and Italian; translated from the Italian. Co-published by: Iter. ISBN 978-0-7727-2136-5 1. Benedetti, Barbara Torelli, b. 1546--Translations into English. 2. Pastoral drama, Italian— 16th century—Translations into English. 3. Italian drama—16th century—Translations into English. I. Sampson, Lisa II. Burgess-Van Aken, Barbara, 1948– III. Victoria University (Toronto, Ont.). Centre for Reformation and Renaissance Studies IV. Iter Inc. V. Title. VI. Title: Partenia, favola boschereccia. English & Italian. VII. Series: Other voice in early modern Europe. Toronto series ; 22 PS4610.B35P3813 2013 852'.4 C2013-901217-6 Cover illustration: St. Catherine of Alexandria (oil on canvas), Longhi, Barbara (1552–c.1638) / Pinacoteca Nazionale, Bologna, Italy / Alinari / The Bridgeman Art Library ALG 164536. Cover design: Maureen Morin, Information Technology Services, University of Toronto Libraries. Typesetting and production: Iter Inc.

Contents

Acknowledgments



Key to Abbreviations List of Illustrations

ix xi xiii

Introduction

1

Note on the edition of Partenia

53

Illustrations

65

Partenia, a Pastoral Play 69 Appendix A

289

Appendix B Bibliography

315

Index

347

vii

327

Acknowledgments We want to express our warmest thanks to Virginia Cox for sparking our cross-Atlantic collaboration in 2006, and for generously offering insightful comments before publication. Our work could not have been completed without the expert assistance of Raffaella Barbierato (Director of Manuscripts) and Stefano Campagnolo (Director) of the Biblioteca Statale, Cremona, to whom we are deeply indebted for guidance on the material and philological aspects of this study. We have also greatly appreciated the professional expertise of Antonia D’Antonio from the Biblioteca Palatina in Parma. We are grateful for the assistance of the staff and Director of the Archivio di Stato of Parma, of the Archivio di Stato of Reggio Emilia, and of the Biblioteca Angelica of Rome, as well as to staff from the Biblioteca Classense of Ravenna and the Biblioteca Comunale dell’Archiginnasio in Bologna. Special thanks go to Brian Richardson, Giliola Barbero, and Neil Harris, who have very generously helped with paleographical and other related questions. In addition to our colleagues at our respective institutions, we would also like to warmly thank Tom Bishop, Abigail Brundin, Heather Meakin, and Rodney Sampson for their judicious comments on aspects of the work. We are most grateful to the copyeditor Penelope Cray and Anabela Carneiro from the “Other Voice in Early Modern Europe Series” for their work in bringing this volume to completion, and particularly to Albert Rabil for his sustained encouragement and support for this project as it has evolved. Last, but by no means least, we gratefully acknowledge the institutional funding of Case Western Reserve University and the University of Reading, as well as the award of a Small Research Grant (to Lisa Sampson) by the British Academy in the early stages of the research, and the support of the Italian Academies project funded by the Arts and Humanities Research Council, UK. LISA SAMPSON (University of Reading)

BARBARA BURGESS-VAN AKEN (Case Western Reserve University)

January 22, 2013

ix

Key to Abbreviations Manuscript Sources (A) (C)

ASMa ASP ASRE

Barbara Torelli Benedetti, Partenia, favola pastorale (n.d.), Biblioteca Angelica, Rome, MS 1690 Barbara Torelli Benedetti, Partenia, favola boschereccia (n.d.), Biblioteca Statale, Desposito Libreria Civica, Cremona, MS AA.1.33 Archivio di Stato, Mantua Archivio di Stato, Parma Archivio di Stato, Reggio Emilia

Printed Sources ADIP Denarosi, Lucia. L’Accademia degli Innominati di Parma: teorie letterarie e progetti di scrittura (1574–1608). Florence: Società Editrice Fiorentina, 2003. B Baldi, Bernardino. Rime varie. In Versi e Prose di Monsignor Bernardino Baldi da Urbino, Abbate di Guastalla. …Venice: Appresso Francesco de’ Franceschi Senese, 1590. BMP Riccò, Laura. Ben mille pastorali: L’itinerario dell’Ingegneri da Tasso a Guarini e oltre. Rome: Bulzoni Editore, 2004. DBI Dizionario biografico degli Italiani. Rome: Istituto dell’En­ ciclopedia Italiana, 1960–. (also available http://www. treccani.it/biografie/) DPR Ingegneri, Angelo. Della poesia rappresentativa e del modo di rappresentare le favole sceniche [Ferrara, 1598]. Edited by Maria Luisa Doglio. Modena: Panini, 1989. DV Ingegneri, Angelo. Danza di Venere. Nell’Academia de’ Sig. Olimpici di Vicenza detto il Negletto. Et l’Innestato in quella de’ Signori Innominati di Parma. All’Illustriss. S. Camilla Lupi. Vicenza: Nella Stamperia Nova, 1584. GL Tasso, Torquato. Gerusalemme liberata. Edited by Marziano Guglielminetti, 10th ed., 2 vols. Milan: Garzanti, 1996. xi

xii LB

OF PF

RS WW

Manfredi, Muzio. Lettere brevissime … . Scritte tutte in un anno, cioè una per giorno, & ad ogni condition di persone, & in ogni usitata maniera. Venice: Roberto Meglietti, 1606. Ariosto, Lodovico. Orlando furioso. 2 vols. Milan: Garzanti, 2000. Guarini, Battista. Il Pastor fido. In Il teatro italiano, vol. 2, La tragedia del Cinquecento. Edited by Marco Ariani. Turin: Einaudi, 1977. Petrarca, Francesco. Rime sparse: Canzoniere. Edited and Introduction by Piero Cudini. 6th ed. Milan: Garzanti, 1987. Cox, Virginia. Women’s Writing in Italy: 1400–1650. Baltimore: Johns Hopkins University Press, 2008.

List of Illustrations Figure 1 (p. 65): Autograph letter of Barbara Torelli, December 13, 1603, Archivio di Stato, Parma, Archivio di Famiglie—Torelli, b. 19, fasc. XI. 1. Reproduced with permission from the Italian Ministero dei Beni e le Attività Culturali. Figure 2 (p. 66): Excerpt of letter from Muzio Manfredi to Don Ferrante II Gonzaga. Mantua, March 18, 1587, Archivio di Stato Parma, Epistolario Scelto, “Manfredi, Muzio,” b. 11, fasc. 3. Reproduced with permission from the Italian Ministero dei Beni e le Attività Culturali. Figure 3 (p. 67): Partenia, favola boschereccia della Signora Barbara Torelli Benedetti (Cremona, Biblioteca Statale, Deposito Libreria Civica, ms. AA.1.33), fol. +2r. Reproduced with permission from the Biblioteca Statale, Cremona (20/25.05.2009). Figure 4 (p. 68): Partenia, favola boschereccia della Signora Barbara Torelli Benedetti (Cremona, Biblioteca Statale, Deposito Libreria Civica, ms. AA.1.33), fol. 4v. Reproduced with permission from the Biblioteca Statale, Cremona (20/25.05.2009).

xiii

Introduction The Other Voice Within the rapidly growing canon of early modern women’s writing, the work of Barbara Torelli Benedetti (Parma, 1546–post-1607) is undeservedly neglected. Of her extensive poetic activities, only six sonnets have appeared in print in scattered editions, all apparently within her lifetime, and her major work, a pastoral play entitled Partenia, favola boschereccia, survives only in two undated manuscript copies: one held in the Biblioteca Statale, Cremona (MS.AA.1.33), and the other, still to our knowledge unknown to literary scholars, in the Biblioteca Angelica, Rome (MS 1690). Nonetheless, in her own time Torelli was highly regarded as both a poet and a playwright within the lively cultural scene of the courts and academies in Northern Italy. Her aristocratic background and her connections with the Farnese rulers of Parma, who may also have brought attention to her work further south in Rome, doubtless facilitated her engagement with such circles. Torelli’s reputation was established especially with her pastoral play, Partenia, which marks a significant milestone in the development of Italian drama, not only because it is the first known, neoclassical secular play written by a woman but also because of its pioneering treatment of this particular genre. Composed as early as 1586 and rehearsed for performance the following year, Partenia completes a trio of recently edited female-authored Italian pastoral plays now available in English, the others being Flori, by the Vincentine noblewoman Maddalena Campiglia (1553–95), and Mirtilla, by the renowned actress Isabella Andreini (1562–1604), both printed in 1588. As such, Partenia makes an important contribution to ongoing comparative research into early modern women’s writing in the pastoral mode and into dramatic production across Europe. Torelli wrote Partenia just as the pastoral drama was gaining great popularity in the wake of Torquato Tasso’s landmark Aminta (first printed 1580) and shortly before Battista Guarini’s Pastor fido (first printed in 1590) took the continent by storm. From the time the first examples of “regular,” five-act pastoral drama were written in 1

2 Introduction the 1550s, dramatists had been drawn to this intrinsically tragicomic genre because of its flexibility of structure, style and cast—especially given the absence of clear classical models and legitimizing theory— and its possibilities for different forms of staging. Nevertheless, certain elements had become customary, including an action involving the erotic entanglements of shepherds and nymphs; a green world (typically Arcadia, but sometimes a disguised local setting); and a happy ending. Barbara Torelli’s Partenia is no exception in these respects. Set in the country estate of the Farnese dukes of Parma, the main plot of the play traces the love-rivalry of two shepherds over the virginal nymph Partenia, who, despite her wish to lead a celibate life in the service of her goddess, agrees to marriage in order to satisfy her father. Briefly, what is distinctive about Partenia within the contemporary tradition of pastoral drama is, on the one hand, its emphasis on tragic elements and its exclusion of traditional comic-pastoral elements, and on the other, its strong spiritual and specifically Christian dimension. This combination explains Partenia’s muted approach to earthly love, which is in striking contrast to the representation of the pastoral realm in most plays of this kind as a space in which earthly passions and sensuality could be fulfilled, thereby providing something of an antidote to the repression and sublimation of physical desire in Petrarchan verse. Torelli’s play is thus an early harbinger of a prominent trend of moralizing and spiritualizing secular drama and fiction, in line with Counter-Reformation principles, and may be seen to anticipate Guarini’s Pastor fido, which has hitherto been considered the first pastoral drama to include Christian elements. Torelli’s addition of Christian aspects to the genre was undoubtedly part of her bid to legitimize her boldness as the first noblewoman to attempt a secular play, and follows an established procedure among Italian women poets, following Vittoria Colonna, of spiritualizing expressions of earthly love in polite literature. Torelli could also draw on a distinguished medieval tradition of pastoral writings that integrated religious themes, as well on writings by humanists such as Jacopo Sannazaro, whose prose romance Arcadia (1504) has a notable neoplatonic and spiritual dimension. Partenia seems to borrow from religious drama too, perhaps especially from the flourishing—though today still little known—female-oriented tradition of convent drama, per-

Introduction 3 formed by and for women and composed by dramatists of both sexes. In this respect, Torelli’s Partenia introduces an “other voice,” namely, a feminine, spiritual one, within the male-authored dramatic tradition, which may have inspired other contemporary female dramatists, including Maddalena Campiglia. Furthermore, while firmly operating within the tenets of the Counter-Reformation agenda, Torelli subtly raises an “oppositional voice” on questions of gender, especially as these relate to friendship, personal piety, and the abusive practice of forced marriage. Fortunately for her legacy, Torelli wrote at a time when verse praising virtuoso women was still a subgenre popular with male writers and readers alike. This trend ended when a backlash against women writers reignited the querelle des femmes at the start of the seventeenth century and contributed to the creation of a more repressive environment for women poets that persisted into the eighteenth century.1 It is a testament particularly to Torelli’s major work that she continued to hold a place in literary histories, albeit a modest one, after her death, and this legacy has recently sparked a renewed interest in her play. The present edition, which provides both the first transcription of Partenia and the first edition of Torelli’s collected verse, both with facing translation, builds upon this interest. It aims to place Partenia more firmly on the historical map of Italian theater and to claim Torelli as an innovative voice within a genre that resonated throughout early modern Europe and held a particular appeal for women authors.

The Life, Works, and Context of Barbara Torelli Benedetti Compared to those of her contemporary female dramatists Maddalena Campiglia and Isabella Andreini,2 the life and cultural activi1. Virginia Cox, Women’s Writing in Italy: 1400–1650 (hereinafter WW) (Baltimore: Johns Hopkins University Press, 2008), particularly ch. 6, “Backlash (1590–1650).” 2. Maddalena Campiglia, Flori: favola boscareccia (Vicenza: presso gl’heredi di Perin Libraro & Tomaso Brunelli compagni, 1588); see Virginia Cox and Lisa Sampson, eds., Flori: A Pastoral Drama; A Bilingual Edition, intro. and notes by Cox and Sampson, trans. Cox, The Other Voice in Early Modern Europe (hereinafter OVIEME) (Chicago: University of Chicago Press, 2004). Isabella Andreini, La Mirtilla (Verona: Girolamo Discepolo, 1588), has been edited by Maria Luisa Doglio (Lucca: Pacini Fazzi, 1995); see also La Mirtilla: A Pas-

4 Introduction ties of Barbara Torelli are largely unknown. We do know that she was born into to one of the most prominent feudal families in northern Italy, and this at least sheds some light on her social background. The Torelli genealogy dates back to the eleventh century, with branches associated with many of the famous courts and important cities, such as Ferrara, Mantua, and Naples. The family earned a distinguished reputation for its military service to the powerful Visconti dynasty of Milan, for which Guido Torelli was granted in the early fifteenth century the small, but strategically important, feud of Montechiarugolo, whose lands lay about ten miles southeast of Parma, together with the territory of Guastalla, about twenty-three miles northeast of Parma.3 Despite the frequent turbulence in the area, and the sway of the Farnese dynasty over the Duchy of Parma and Piacenza from 1545, the Torelli family managed to hold onto Montechiarugolo until 1612, when their lands and possessions were confiscated following Count Pio Torelli’s involvement in a failed anti-Farnese plot.4 Barbara Torelli was born in Parma on February 21, 1546, one of four children of Gaspare Torelli (d. 1562), the legitimized natural son of Count Francesco Torelli of Montechiarugolo, and the Parmense noblewoman Maddalena Musacchi (d. 1592). The record of Barbara’s baptism, which took place on the day of her birth, indicates that her godparents came from important noble families from the Parma retoral, trans. with an intro. and notes by Julie D. Campbell (Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2002). 3. For genealogies, see Pompeo Litta, Famiglie celebri Italiane, vol. 4, 1819, “Torelli,” tables 7–10 (esp. 7, “Conti di Guastalla e di Montechiarugolo”). See also Lorenzo Molossi, Vocabolario topografico dei ducati di Parma, Piacenza e Guastalla (Parma: Della Tip. Ducale, 1832–34), 220–226; Rossella Cattani and Stefania Colla, Il Castello di Montechiarugolo… fortissimo e inespugnabile fabrica (Parma: Monte Università Parma Editore, 2006). On the cession of the territories of Guastalla in 1547 to Ferrante I Gonzaga, son of Marchese Francesco of Mantua and Isabella d’Este, see Affò, Memorie degli scrittori e letterati Parmigiani… , 7 vols. (Parma: Dalla Stamperia Reale, 1793; anas. repr. Bologna: Forni, 1969), 4:263; Litta, Famiglie celebri, “Torelli,” tables 8, 9. 4. Emilio Nasalli Rocca, I Farnese (Milan: Dall’Oglio, 1969), 140–45; Giovanni Drei, I Farnese: Grandezza e decadenza di una dinastia italiana (Rome: La Libreria dello Stato, 1954), 179–200; Giovanna Solari, The House of Farnese (New York: Doubleday, 1968), 166– 93; for its impact on the Torelli family, see Marzio Dall’Acqua, “Le carte Torelli: saggio storico-archivistico,” in Le corti farnesiane di Parma e Piacenza, 1545–1622, vol. 2, Forme e istituzioni della produzione culturale, ed. Amedeo Quondam (Rome: Bulzoni, 1978), 210–13.

Introduction 5 gion.5 The marriage in 1553 of Barbara’s older sister Maddalena to Veltro (or Veltrio) Lalatta, who hailed from another noble Parmense family close to the Farnese, confirms this allegiance.6 Her family’s status must have made Barbara a first-hand spectator to the political and cultural events of her day, especially given the close ties her brother Guido and her cousin, Pomponio Torelli, Count of Montechiarugolo (1539–1608), enjoyed with the Farnese rulers. Famous now primarily for his five tragedies, Pomponio was also one of the most distinguished diplomats at the Farnese court, entrusted with numerous important missions to represent Farnese interests, for example, in Spain and in the Netherlands, where Alessandro Farnese (Duke of Parma, 1586–92) commanded the imperial forces.7 Pomponio gained special favor with Duke Ottavio Farnese (1547–86), as his appoint5. The record of her baptism here reproduced for the first time reads: “Barbara Calidonia filia D[ominus] Gasparis de Taurellis, et D[omina] Magdalena Ux[or], nata, et bapt.a 21 Feb. ij: Comp[adr]i D. Hieronijmus de Pegulijs, et D. Geli[c]ala de Rubeis, et D. Portia de Puteo. (Barbara Calidonia, daughter of Don Gaspare Torelli and his wife, Donna Maddalena, born and baptized 21 February. Godparents Don Girolamo de Peguliis and Donna Gelicala [Angelica?] de’ Rossi, and Donna Porzia [dal] Pozzo.),” Archivio di Stato, Parma (hereinafter ASP), Registri Battesimali (February 21, 1546), Microfilm 906427. On the aristocratic Rossi of San Secondo and the dal Pozzo families (made Counts by Duke Ottavio Farnese in 1573), see Roberto Lasagni, Dizionario biografico dei Parmigiani, 4 vols. (Parma: PPS, 1999), partially available online at http://biblioteche2.comune.parma.it/lasagni/, s.v. “Dal Pozzo Farnese, Alfonso” and “Rossi, Troilo (1524c–1591).” 6. See Gaspare Torelli’s transfer of land to the dowry fund of Maddalena Torelli, and promissory note to pay 3000 Lira into it on his death (September 9, 1553, notary Giacomo Cavicchi), Archivio di Stato Reggio Emilia (hereinafter ASRE), Fondo Privati, Malaspina-Torello, famiglia (hereinafter MT), Io Versamento, fol. 41, “Memorie nell’Archivio di Parma,” fol. 83 (eighteenth-century register); also fol. 29 (“Memorie Cavate dall’Archivio di Bologna dal Conte Adriano mio Fratello”). This newly discovered evidence contradicts Affò, Memorie, 4:293. On Veltro Lalatta, see entry in Lasagni, Dizionario biografico. 7. For Torelli’s political and cultural career, see Lucia Denarosi, L’Accademia degli Innominati di Parma: Teorie letterarie e progetti di scrittura (1574–1608) (hereinafter ADIP), (Florence: Società Editrice Fiorentina, 2003), 168–71, 174–81 (his contacts with Alessandro Farnese in Flanders in 1584–85, his planned biography of the general and account of his conquest of Anvers, which formed the basis for Cesare Campana’s Assedio e racquisto d’Anversa, printed 1595); Gabriele Nori, “Lettere inedite di Pomponio Torelli (1559–1605),” unpublished “laurea” thesis, Università degli Studi di Parma, Facoltà di Magistero, 1974–75: 21–29; Arnaldo Barilli, Nuova biografia di Pomponio Torelli e critica della sua tragedia “Vittoria” (Parma, 1903), 25–40.

6 Introduction ment in 1583 as tutor to Ottavio’s grandson Ranuccio, the son and heir of Alessandro, indicates. Torelli seems to have composed the first draft of Partenia during this period. However, after Ottavio’s death on September 18, 1586, Pomponio apparently lost favor with the Farnese; he was only restored to ducal grace when Ranuccio became duke (1592– 1627). Barbara’s brother, Guido, was also very close to Duke Ranuccio, initially as one of his gentleman at court and later as a camariero (i.e., a servant of the privy chamber) until some time after 1601 when he left ducal service because of a perceived slight to his honor.8 Like other aristocratic families in the region, the Torelli boasted important cultural as well as political connections and produced various writers of both sexes. Most notable of these was, as mentioned, Barbara’s cousin Pomponio (grandson of Giovanni Pico della Mirandola). In addition to composing tragedies, he wrote poetry, prose treatises, and works on literary theory, and was a rallying figure for culture in his native Parma.9 However, the precise relationship that Barbara and Pomponio enjoyed as cousins remains unclear, given the surprising absence of any documented connection. Barbara’s father seems to have acted as guardian to his orphaned nephew Pomponio and Pomponio’s siblings until 1561, and relations between the two sides of the family appear to have been cordial during Barbara’s early years, when her family lodged on lands in Montechiarugolo. However, matters may have changed as a result of quarrels between Pomponio and Barbara’s brother over issues of inheritance.10 8. Ranuccio Pico, Aggiunte fatte alla soprascritta Appendice, con la correttione de gli errori più notabili. In Appendice de Vari Soggetti Parmigiani… (Parma: Per Mario Vigna, 1642), 110–12. 9. See the recent editions of Pomponio Torelli’s works that mark the four-hundredth anniversary of his death, Opere di Pomponio Torelli, 3 vols. (Parma: Guanda, 2008-forthcoming), esp. vol. 2, Teatro, with intro. by Vincenzo Guercio (2009); Denarosi, ADIP; Affò, Memorie, 4:I–XIII (Innominati), 262–91. 10. The listed estate divided between the brothers Counts Pomponio and Adriano Torelli (November 19, 1562) includes estates (Romito, Casaccia) “which the heirs of Count Gaspare Torelli currently enjoy, with other pieces of land alienated by the brothers with an agreement that they be recuperated” (ASRE, MT, Vers.1, b. 41, fol. 58); note that archival sources are referenced using the Italian classification (fondo/versamento, busta, fascicolo). An acrimonious dispute between Pomponio and Guido Torelli over the feud of Coenzo (won by Pomponio) is noted in Litta, Famiglie celebri, “Torelli,” table 8 (under “Guido” and “Roberto”);

Introduction 7 Of Barbara’s immediate family members, her father was educated in letters and known to write poetry, while either her mother or sister, Maddalena, apparently also had literary proclivities. Guido, though not a man of letters himself, seems to have had a keen interest in ancient and modern history, as well as in artworks and medals, eventually amassing a prestigious collection.11 Furthermore, Barbara could take inspiration from a long line of cultured Torelli women, including Ippolita (1499–1520), wife of Baldassar Castiglione, and Barbara Torelli Bentivoglio Strozzi (1475–1533)—often confused in earlier criticism with the subject of our study—to whom a single sonnet is attributed in the first printed anthology of female-authored poetry (edited by Ludovico Domenichi; printed in 1559), probably as Virginia Cox suggests of “ventriloquized” production. More importantly, Alda Torelli Lunati from the Pavia branch of the family, who also appeared in the Domenichi anthology but is now barely known and has little extant printed verse, seems to have been a widely famed poet and a cultural figurehead for her city, attracting numerous poetic dedications by individual poets—including from Laodomia Forteguerri—and collectively from members of the local Affidati Academy.12 and Pico, Aggiunte, 110. However, Guido is not named among the contenders for this feud in the 1570s in ASRE, Fondo Privati, MT famiglia, b. 41, fol. 84; other possessions may have caused conflict (Gaspare Torelli left his farm in Romito to his (unmarried) daughter Ottavia in his will, March 28, 1562, notary Giacomo Cavicchi, 83). On Gaspare Torelli, see also (with rather uneven documentation) Vittorio Barbieri, I Torelli: Conti di Montechiarugolo (1406–1612) (Montechiarugolo (Parma): n.p., 1998), 75–76, 109. 191; Affò, Memorie, 4:297. 11. A Maddalena Torelli is noted as belonging to a literary group predating the Innominati with clerical links and probable Farnese connections in Paolo Luigi Gozzi’s not wholly reliable Parma Accademica… (Parma: Stamperia Gozzi, 1778), 20; see also Fortunato Rizzi, “Figure dimenticate del Parnaso Parmense,” Aurea Parma 42, no. 1 (1958): 31, 39 (on female poets in Barbara Torelli’s family). On Guido, see Affò, Memorie, 4: 292; Pico, Aggiunte, 112. 12. Cox, WW, 102–03, 306n106 (Alda Torelli); and 282n37 (doubts about Barbara Torelli Strozzi’s authorship); 49–50 (“ventriloquized” verse attributed to fifteenth-century court ladies). Thanks to the author for noting this point. See also Luisa Bergalli, Componimenti poetici delle più illustri rimatrici d’ogni secolo. 2 vols. (Venice: Appresso Antonio Mora, 1726), 1:165 (2 printed verses by Alda Torelli (Torrella)); 1: 33 (1 sonnet by Barbara Torelli Strozzi); Litta, table 8 (Ippolita Torelli). On Barbara Torelli Strozzi, see also Rinaldina Russell, ed., Italian Women Writers: A Bio-bibliographical Sourcebook (Westport, CT: Greenwood Press, 1994), xix. Quatrains by Lucrezia and Caterina Torelli (printed 1521 to accompany a saint’s life) are quoted in Angelo Pezzana, Memorie degli scrittori e letterati

8 Introduction Two other Torelli women, Lucrezia and Caterina, also seem to have composed poetry in the early decades of the sixteenth century. We know nothing of Barbara Torelli’s education, though her aristocratic background makes it probable that she gained a grounding in the liberal arts and vernacular literature, as well as some aspects of classical languages and culture, perhaps through home tutoring alongside her brother, as part of her preparation for marriage. The strong emphasis on Christian themes in her writings and her choice to compose a play may suggest that she received some convent education involving theatrical activities, as Elissa Weaver has postulated for Moderata Fonte, who also authored a secular play (Le Feste [the Festivities], 1581).13 In either case, Torelli’s limited access to “the places where grave or humble style are taught,” as Paolo Filippi dalla Briga suggests in his verse (appendix B, poem 4, line 6), would doubtless have encouraged her to supplement her literary education with intellectual guidance from male elites. Such guidance was especially necessary given the value placed on humanist and courtly eloquence, and on neo-Aristotelian theory, in local academic circles. Certainly, Partenia demonstrates Torelli’s familiarity with a range of ancient and modern writings, including Ovid’s Heroides and Metamorphoses, ancient and modern drama and pastoral writings, and especially the vernacular writings of Petrarch, Dante, and Boccaccio. Marco Pio of Savoy, in his encomiastic verse for the Cremona manuscript, praises Torelli’s knowledge of Greek epic culture (“in Homer’s fields you have gathered laurels,” appendix A, poem 13, line 11). Pio reinforces Torelli’s serious literary commitment by observing that she rejects the typically feminine pursuits of vain pleasures and worldly beauty, calling these “base burdens,” in favor of the glory to be gained from learning. Parmigiani raccolte da Ireneo Affò e continuate da Angelo Pezzana (Bologna: Forni, 1969; first ed. 1789–1833 [1827]), 6:974; and see Lasagni, Dizionario biografico dei Parmigiani, 581 (Caterina Torelli). For the confusion between the Barbara Torellis, see Affò, Memorie, 4: 297, Carlo D’Arco, Mille Famiglie Mantovane (ms) vol. 4. Archivio di Stato, Mantua; and below note 123. 13. Elissa Weaver, Convent Theatre in Early Modern Italy: Spiritual Fun and Learning for Women (Cambridge: Cambridge University Press, 2002), 64; for recent analysis of Fonte’s Feste, see Virginia Cox’s comprehensive study of female-authored Italian drama of the period, “The Prodigious Muse”: Women’s Writing in Counter-Reformation Italy (Baltimore: Johns Hopkins University Press, 2011), 99–91.

Introduction 9 Torelli’s literary activities were apparently well underway by 1580, when Muzio Manfredi—a key literary mentor to whom we will return—commended her considerable poetic expertise and composition of correspondence verse.14 By then she had married the Parmense knight, Giovanni Paolo Benedetti, about whom nothing is securely known other than that he was born on October 18, 1546, making him ten months younger than Torelli, and that he died shortly before January 2, 1593.15 It is unclear whether the couple had children, or indeed where they lived, though a letter Manfredi wrote to Benedetti (dated 1591) was sent to Parma, which suggests they were domiciled there.16 Since so little documentary evidence survives in relation to Torelli’s personal life outside of literary sources, and almost nothing remains from the years of her marriage, it is tempting to build on suggestions from Muzio Manfredi’s pastoral play Il contrasto amoroso [Amorous dispute] (1602). This work is explicitly identified as a drame à clef and contains many verifiable details about Torelli through the character Talia (a name also used in Partenia and elsewhere).17 Talia is described as having been married as “young girl” to a younger man called Coridone—the name of Talia’s lover in Torelli’s Partenia—and herself declares: “I have never felt what love for a child is, because I never had any.”18 Whether Torelli was indeed childless is unknown, 14. Muzio Manfredi, Cento donne… (Parma: Erasmo Viotti, 1580), 257. 15. Affò, Memorie, 4:293; ASP, Registri Battesimali (respectively born and baptized October18 and 24, 1546), Microfilm 906427. 16. Manfredi, Lettere brevissime… (hereinafter LB), letter no. 297, dated October 24, 1591, to Signor Cavalier Gio. Paolo Benedetti, Parma (Venice: Appresso Roberto Meglietti, 1606), 244. For the literary construction and possibly fictional aspect of this collection, see Pignatti, “Manfredi, Muzio,” in Dizionario biografico degli Italiani (hereinafter DBI), 68 (2007): 722. The inventory of the inheritance of Barbara Torelli’s brother Guido also lists a house in Parma “da S. Paolo” (ASRE, MT, b. 41, p. 48). 17. “tutte l’altre Ninfe della favola, Dame sono di coteste contrade… : e sonovi non poche cose per intro accennate, le quali vere, et avvenute sono” (all the other nymphs of the play represent ladies from these parts…; and there are many things referred to in the play that are true and did occur), Muzio Manfredi, Dedicatory letter to Vittoria Doria Gonzaga, Princess of Molfetta and Signora of Guastalla, Il contrasto Amoroso… (Venice: Appresso Giacomo Anton Somascho, 1602), fols. A3r–v. On Torelli as Talia in this work, see below p. 49. 18. “[Talia:] ‘Nicora, io no ho mai / Provato quel che sia l’amor dei figli, / Perché non n’ebbi mai’ ” (Manfredi, Contrasto amoroso, 2.5, p. 45).

10 Introduction but her happy marriage is attested to in Manfredi’s above-mentioned letter to Benedetti, in which he notes that his frequent correspondence with Barbara makes it superfluous to write to the Cavaliere because “together you seem one person” (“mi par tutt’uno”). That the Talia in Manfredi’s play, who never remarried after the death of Coridone (her husband), likely parallels Torelli’s experience is supported by a sonnet composed for Torelli by Giovanni Maria Agaccio (printed in 1598).19 The most recent document relating to Barbara Torelli’s life is her only known autograph letter, held in the Torelli family archive, which she penned at the age of fifty-seven on December 13, 1603. In this letter she requests on her brother Guido’s behalf that he be granted certain territorial benefices, and mentions a legal document (“polizza”) that she had had drawn up (fig. 1).20 It is quite possible that from at least the time of her marriage, Barbara, like her mother before her, capably managed legal and financial affairs as a landowner.21 Barbara survived her unmarried brother and seems, following the specifications of her father’s will, to have inherited what remained of Guido’s estate after his most important asset—his beloved collection of antiquities—had been bestowed upon close male friends, who promptly sold it.22 It is unclear how long she lived after 1603, given that no record of her death or burial has yet been found, though she

19. Manfredi, Contrasto amoroso, 2.5, p. 48; “Né del primo Imeneo sciolse il monile” (nor [has she] loosened Hymen’s first bond), Giovanni Maria Agaccio, Rime del Signor Gio: Maria Aggaccio (Parma: Appresso Erasmo Viotti, 1598), appendix B, poem 3, line 14. 20. ASP, Fondo Famiglie e feudali, Archivio Torelli, Epistolario, b. 19, fasc.11; for a transcription, see appendix B, doc. 6. 21. ASRE, MT, b. 41, p. 83 (March 28, 1562, Gaspare Torelli left Barbara in his will a territory in Povilio (Puilio), in the Parma region). Barbara Torelli Benedetti cannot be identified, however, with the Barbara Benedetti who made financial transactions recorded in ASP, Notai Camerali, vol. 223 (notaio Avanzi), September 19, 1575, and January 13, 1576 (thanks to Alberta Cardinale for checking this). For documents on the financial dealings of Maddalena Musacchi, see fol. 74 (December 1555, revocation of will and donation), 81 (January 4, 1563), 92 (March 17, 1569, unspecified transaction with Count Adriano Torelli); ASP, Archivio Notarile, Fondo notai, filza 1482, n. 5 (March 28, 1562, Jacopo Cavizzi: loan of one thousand pounds to her husband Gaspare Torelli). Thanks to the late Prof. George Holmes for help in deciphering the hand. 22. Pico, Aggiunte, 112–3.

Introduction 11 may have been composing verse until at least 1607.23 Unfortunately, no likeness of Barbara Torelli is known to exist. While historical documents relating to Torelli’s life are few and problematic, her works provide a clear sense of her lively involvement with male elites in courts, academies, or literary coteries, as well as in spiritual circles. What little is known of her literary connections with other women, including the celebrated painter Barbara Longhi of Ravenna (1552–1638), may suggest potentially fruitful exchanges. Torelli’s relationship with Maddalena Campiglia can unfortunately only be guessed at indirectly, through common features in their works and through their mutual association with Muzio Manfredi and Isabella Pallavicino Lupi, the Marchioness of Soragna. This noblewoman, alluded to in the play under her pastoral pseudonym “Calisa” (5.3.376), was an important patron of literati of both sexes, including—besides Maddalena Campiglia, Muzio Manfredi, Bernardino Baldi, and other contributors to the Cremona manuscript of Partenia—Torquato Tasso, the most eminent poet of the day. Pallavicino Lupi was instrumental in getting one of the two first complete editions of Tasso’s Gerusalemme Liberata printed in 1581.24 Torelli’s six sonnets, which constitute her sole surviving literary oeuvre besides Partenia and which appeared in rare editions printed between 1581 and 1608 (of which five are collected here for the first time in appendix B), generally indicate her taste for poetic correspondence within wide literary networks and provide a sense of Torelli’s confident technical skills and her capacity for witty verbal play. Her literary endeavors ranged from a gratulatory verse for a much-discussed contemporary tragedy (Muzio Manfredi’s 23. Further records may be held in the Archivio Notarile of ASP, which was unavailable for consultation during 2010–11 due to the relocation of the archive. For Torelli’s verse from ca.1607, see below n25 and appendix B, poems 4–5. 24. On the still insufficiently studied Isabella Pallavicino Lupi and her relationship with Maddalena Campiglia, see Cox, “Prodigious Muse,” 17–18, 77, 84, 116 (suggestion that Pallavicino herself composed verse), 265; and Cox and Sampson, eds., Flori, 4n8, 27–28. As this edition was going to press, Lisa Sampson discovered a hitherto unknown verse by Barbara Torelli Benedetti, addressed to the female painter Barbara Lunghi (Longhi) of Ravenna— one of the few women celebrated by Vasari in his Vite [Lives of the Artists] (1568), in Oratione, Rime, et versi latini de diversi eccellentiss. autori. In morte di M. Luca Lunghi Pittore Ravennate (Ravenna: Appresso Frencesco Tebaldini, 1581), 45. The verse will be further explored in a forthcoming publication.

12 Introduction Semiramis, 1593; completed after 1580), and a prefatory verse for a religious miscellany by the clergyman Vincenzo Ferrini (1596) to correspondence sonnets in works of courtly verse by Giovanni Maria Agaccio, a Farnese courtier (1598), and Paolo Filippi dalla Briga, the secretary of the Duke of Savoy (1607). These poems, importantly, also shed light on her ability both to manage her social persona—notably through her modest deflection of Filippi dalla Briga’s praise—and to express an autonomous, particularly feminine perspective within an important literary debate on Manfredi’s tragedy.25 Furthermore, Torelli’s printed verse offers clear evidence of her commitment to ascetic piety and of her particular devotion to the Virgin, which is evident also in Partenia. In her sonnet replying to the courtier and priest Giovanni Maria Agaccio, she reinforces his image of her as a grieving widow in “humble, mortal garb” (appendix B, poem 3, line 10) by declaring her thoughts to be “turned to / the sign of honored virtue,” scorning wealth and “those / who are supported only by fortune” (lines 5–7). She adds that “my crude style [does not] equal the terse style / of the lady who drew others away from error” (lines 10–11). The fact that Torelli was one of only three to contribute verse to a popular work by Vincenzo (Vincentio) Ferrini, a Dominican preacher and Vicar General to the Bishop of Parma and Piacenza,26 strongly suggests her involvement with local religious circles, possibly through patronage or through connections with the Farnese, who 25. On Manfredi’s tragedy La Semiramis tragedia (Bergamo: Per Comin Ventura, 1593) and the accompanying 47 poems (including one by Torquato Tasso, and five by women including Torelli), see F. Pignatti, “Muzio Manfredi,” DBI 68 (2007): 721; Cox and Sampson, eds., Flori, 33. Cox notes the negative reaction of Torelli to the play (together with Maddalena Campiglia, Adriana Trevisani Contarini, and an anonymous woman) as opposed to Veronica Franco’s more straight-forward eulogy (WW, 166–67). Torelli’s other printed verse (see appendix B) appears in Vincenzo Ferrini, Della Lima Universale De’ Vitii, Del R.P.F. Vicentio Ferrini Da Castelnovo di Garfagnana, Predic[atore] Dominicano. Parte Prima. Raccolta da Lui dalle Opere di’ Predicatori più famosi dell’età nostra, e da altri Autori fra i Moderni più illustri… .[On the Universal Correction of Vices, by Father Vincenzo Ferrini from Castelnovo in Garfagnana, A Dominican Preacher, Part 1. Collected by him from the works of the most famous preachers of our time and from among the most illustrious contemporary authors], (Venice: I Gionti, 1596), fol. 4v; Agaccio, Rime, Part 4, fol. 12v; Paolo Filippi dalla Briga, Rime di Paolo Filippi dalla Briga (Venice: Appresso Zuane Zenaro, 1607), fol. D3r; a 1601 edition is mention in Affò, Memorie, 4:297, but the editors have been unable to consult a copy. 26. See appendix B, n5; his Lima universale appeared in five editions between 1596 and 1626.

Introduction 13 were firm promoters of Catholic reform. Torelli’s religious associations probably began during her married life, since by 1582 she was already the co-dedicatee of a religious work by another priest from Parma, Antonio Maria Garofani’s Sommario dell’Indulgenze di Parma, et di Gerusalemme [Summary of the Indulgences of Parma and of Jerusalem], in which she is praised for her virtue and knowledge of devotional writings.27 Together, these printed poems show that from the 1580s and especially the 1590s onward—the period of her widowhood and after the composition of her lauded play—Torelli enjoyed a respected reputation as a rare female writer. Evidently, the youthful Paolo Filippi dalla Briga (later secretary of the Duke of Savoy), who had been impressed by recitations of her verse, sought her out for poetic correspondence. Her poetry must also have been considered a desirable ornament to works authored or edited by others. Publishing her work by this means would have allowed Torelli to retain the “invisibility” that respectable, elite women traditionally sought, a practice evident also in the Partenia manuscript.28 This verse must, however, represent only a small portion of her overall production, since she is described in 1580 (at the age of 36) as “writing verse most delightfully, besides many sonnets which she has written to [Muzio Manfredi] for him to reply to and in response to his.” She seems still to have been composing in 1607 (a new sonnet of hers appears in the revised edition of

27. “de’ Virtuosi [lei] possede quella perfetta cognitione, che in Vita, e dopo Morte, si può da gli scritti loro sperare” (you have that perfect knowledge of the virtuous in life and after death, which one can hope to gain from their writings), Antonio Maria Garofani, Sommario dell’Indulgenze di Parma, et di Gerusalemme, Con le peregrinationi di tutta Terra Santa; & altre Indulgenze, con gli Altari Privilegiati… [Summary of the Indulgences of Parma and of Jerusalem, with the peregrinations of the entire Holy Land…] (Parma: the heirs of Seth Viotto, 1582), 123. Copy consulted in the Biblioteca Palatina, Parma (Misc. Parm. 8o, 442). The first part of this work is dedicated to Lucretia Scotti Angosciola Contessa di San Paolo; Barbara Torelli Benedetti is the dedicatee of the shorter Sommario delle indulgenze e peregrinationi di Gerusalemme, with separate title-page (pp. 121–44). On Garofani, author of religious and secular works, and editor of a comedy by Niccolò Secchi (Il Beffa, 1584) dedicated to Isabella Pallavicino Lupi, see Affò, Memorie 4: 301–3, also 297. 28. Cox, WW, 138–39; Paolo Filippi dalla Briga, “Lettere di complimenti misti,” in Complimenti… .(Venice: Appresso Zuane Zenaro, 1607), 126.

14 Introduction Paolo Filippi dalla Briga’s Letters of Compliments, 1608).29 Paradoxically, Torelli’s distinguished lineage, which would doubtless have enabled her, like other female elites, to participate prominently in cultural activities, may have contributed to the low survival rate of her writings. It is likely that her aristocratic rank made her favor the longstanding practice among her peers of circulating her works discreetly in manuscript form for select audiences, rather than seeking the publicity afforded by print like many female contemporaries in Italy, who increasingly came not just from lower social ranks, but also from the minor nobility.30 A further reason for her verse’s poor survival may be that she composed it predominantly for oral transmission in exclusive coteries, as suggested by the fact that Filippi dalla Briga heard some of her poems being recited and by Francesco Agostino Della Chiesa’s comment that, at the peak of her fame, Torelli “improvised sonnets and madrigals of marvelous artifice.”31 On the literary side, the most informative source for Torelli’s career is the courtier, poet, dramatist, and critic Muzio Manfredi (Cesena 1535?–1609), a relatively impecunious nobleman who enjoyed considerable cultural prestige in his day. He had clearly become close to Torelli by 1580 and remained so until at least 1591, playing an instrumental role in the early circulation and promotion of Partenia

29. Manfredi, Cento donne, 257 (“scrive leggiadramente versi, et oltre molti sonetti, che ella ha scritti a lui et in proposta, et in risposta”). Paolo Filippi dalla Briga, I Complimenti… . (Turin: Per Gio. Domenico Tarino, 1608), fol. 6v (the dedicatory letter by the author is dated December 15, 1607); the Venice 1607 edition (consulted in the British Library, 1085. L. 13) includes a dedicatory letter dated 1601. 30. See Brian Richardson, Manuscript Culture in Renaissance Italy (Cambridge, UK: Cambridge University Press, 2009), 17–18; and the same author’s “Print or Pen? Modes of Written Publication in Sixteenth-Century Italy,” Italian Studies 59 (2004): 39–64; Virginia Cox, WW, 1–34 (women’s writing practices in the fifteenth century), 235–45 (women’s relationship with the press in sixteenth-century Italy). For the preference of elite English women for the scribal medium, see Harold Love, Scribal Publication in Seventeenth-Century England (Oxford: Clarendon Press, 1993), 54–58: and Julie Campbell, Literary Circles and Gender in Early Modern Europe: A Cross-Cultural Approach. Aldershot UK: Ashgate, 2006), 139–42. 31. Francesco Agostino Della Chiesa, Theatro delle donne letterate. Con vn breue discorso della preminenza, e perfettione del sesso donnesco (Mondovi: G. Gislandi & G. T. Rossi, 1620), 94 (“all’improviso componeva sonetti, e Madrigali di mirabil artificio”).

Introduction 15 and the preparation of the Cremona manuscript.32 He seems to have served as a sort of literary advisor, editor, and agent to Torelli, as well as possibly her publisher and publicist. These activities would have accorded well with his continuous (though not always successful) efforts to seek patronage, especially through courtly service and through the copious production of publications in which he advertised his connections with social and cultural elites and academies. In both of these activities, Manfredi assiduously courted noblewomen either to win their grace directly, or, following a well-established courtly practice, to attract indirectly the favor of their consorts by masking his ambition as amorous devotion.33 It is unclear how far Manfredi’s prolonged interest in Barbara Torelli was motivated by his pursuit of patronage. Torelli for her part may have favored Manfredi for his literary reputation, his noble pedigree, and his important connections in elite circles, which would have made him well suited to introduce her work to others and to facilitate communication where social decorum prevented face-to-face contact. Manfredi served as a courtier in several influential courts, including Parma under Farnese rule and Mantua under the Gonzagas, as well as its small but vibrant satellite court of Guastalla. Manfredi’s first documented mention of Partenia, in 1586, is in fact linked to his attempts to enhance his own status at the courts of Guastalla and Mantua. In 1587, he offered the play as a court entertainment for the wedding of his patron, Don Ferrante II Gonzaga (1563–1630), possibly in an attempt to regain favor after a mysterious fall from grace.34 Four years later he appears to have circulated it among other Italian 32. See F. Pignatti, “Manfredi, Muzio,” DBI, 68 (2007): 720–25. On the production of the Cremona manuscript of Partenia, see “Note on the edition of Partenia.” 33. Verse for Torelli appears in Manfredi’s Cento donne… . (1580) and Cento madrigali… . (Mantua: Appresso Francesco Osanna,1587); Manfredi also celebrated women explictly in his anthologies Per donne romane (Bologna: Per Alessandro Benacci, 1575); Cento sonetti in lode di cento donne di Pavia (Pavia: Bartoli, 1601); and Cento sonetti in lode di donne di Ravenna (Ravenna: per gli heredi di Pietro Giovanelli, 1602). For the dynamics of literary patronage, cf. Mary Ellen Lamb, Gender and Authorship in the Sidney Circle (Madison: University Wisconsin Press, 1990). 34. Lucia Denarosi, “Il principe e il letterato: due carteggi inediti di Muzio Manfredi,” Studi Italiani, 17 (1997), 151–76. On the proposed performance, see below “The Transmission and Fortunes of Partenia.”

16 Introduction patrons, including Carlo Emanuele I, Duke of Savoy, who was known for his interest in drama. The duke had a notable collection of manuscript tragicomedies and pastoral plays, and was himself a writer and dramatist.35 Muzio Manfredi’s relations with courts frequently intersected with his literary affiliations. As a member of academies in Mantua, Parma, Vicenza, and Bologna he seems to have played an important role in discussions on dramatic theory and dramaturgical practice, which may have made him particularly useful to Torelli, given that women were normally not admitted to such institutions. Literary academies became ubiquitous across the Italian peninsula around the mid-sixteenth century and played an important role in unifying Italian intellectuals in an era of political upheaval.36 Frequently more structured than French salons and English literary clubs, Italian academies presented an alternative forum for serious intellectual discussion to those provided by universities and courts. They often contributed to the region’s culture through their educational activities, including lectures and debates on a range of disciplines across the arts and sciences, as well as the sponsorship or compilation of various works, including plays, some of which were published. They were also concerned with entertainment, as evidenced by the use of humorous nicknames for academies and their members. 35. Manfredi, LB, 214 (to Carlo Emanuele of Savoy). The Biblioteca Nazionale, Turin, holds many manuscript plays dedicated to Duke Carlo Emanuele, though only some survived the devastating fire in the library of 1904. These include various tragedies (sacred and secular) and pastoral plays such as Manfredi, Semiramis (Fondo italiano, XXXIX.K126 [=N-V-11], paper, fragments only); Leone de’ Sommi, L’Irifile; Guidabaldo Bonarelli, Fillo di Sciro; Ciro Spontone, Lethea; and Ludovico Martino d’Agliè, Alvida. Guarini’s manuscript Il Pastor Fido (hereinafter PF) was destroyed, and there is no trace of a manuscript of Partenia. See Giuseppe Mazzatinti, ed., Inventari dei manoscritti delle biblioteche d’Italia, Torino, ed. Albano Sorbelli, 28 (Florence: Olschki, 1924), 169ff; see also Ferdinando Gabotto, “Un principe poeta: Saggio di un lavoro sulla corte letteraria di Carlo Emanuele I di Savoia,” Rivista storica italiana 8, no.111 (1891): 181–231. 36. For an encyclopedia of academies, see Michele Maylender, Storia delle accademie d’Italia, vols. 1–5 (Bologna: Capelli, 1926–1930), and for a searchable database (not including Parma): http://www.bl.uk/catalogues/ItalianAcademies/. For an overview of academic culture, see Amedeo Quondam, “L’Accademia,” in Letteratura italiana, vol. I, Il letterato e le istituzioni (Turin: Einaudi, 1982), 823–98.

Introduction 17 In Parma, the Accademia degli Innominati (i.e., the “Academy of the Unnamed Ones,” founded in 1574; hereinafter, the Innominati Academy) enjoyed pre-eminent status in the late sixteenth century as the only academy in the city, which at that time lacked a university (until 1601).37 Founded in 1574 and awarded a charter from Duke Ottavio Farnese through the intervention of its cultural leader, Count Pomponio Torelli, the academy was closely bound up with the court and Farnese family interests—especially after 1586, when the young prince regent Ranuccio Farnese became head (principe). The Dukes of Parma and Piacenza must have welcomed this opportunity to oversee local elites’ cultural production, given the hostilities toward the dynasty after it was established in 1545 with Pier Luigi, the illegitimate son of Pope Paul III (assassinated 1547), as its head. The academy’s subtle promotion of the Farnese’s cultural and religious agenda, which was closely bound up with Tridentine reform, transpires in the Counter-Reformation sensibilities of their works and especially in their attempts to reconcile Platonic and Aristotelian philosophy with Christian theology.38 Nonetheless, the academy was not simply a propaganda tool of the regime. It gained a reputation for its serious intellectual purpose, especially through its production of vernacular translations of classical works and the exegesis of Aristotle’s Poetics—a hot topic of discussion around 1540 on which Pomponio Torelli delivered a series of unpublished lectures before the academy. Converting theoretical debate into practice, the academicians also made important contributions to contemporary experimentation with epic verse, lyric poetry, 37. For an exhaustive study of the Innominati Academy, see Denarosi, ADIP; also Cornelia Bevilacqua, “L’Accademia degli Innominati: Un’istituzione culturale alla corte Farnesiana di Parma,” Aurea Parma 81, no.1 (1997): 3–25; Affò, Memorie 4:i–xl (“Discorso Preliminare su le Accademie di Parma”); and Gozzi, Parma Accademica, 15–18. Two other groups active in Parma (the Amorevoli (Loving Ones) and the Pellegrini (Pilgrims)) seem to have been dedicated solely to theatrical performances (Maylender, 1:175, 4:241; Pezzana, Memorie, 6:960); for an earlier proto-academy in Parma, see above note 11. On a more subversive Piacentine academy, see Alessandra Del Fante, “L’Accademia degli Ortolani,” in Le Corti Farnesiane di Parma e Piacenza 2:149–70. On the university of Parma, see Paul F. Grendler, The Universities of the Italian Renaissance (Baltimore: Johns Hopkins University Press, 2002), 126–37 (for Piacenza, 137–8). 38. Denarosi, ADIP, 66–75, 400; on the key role of Cardinal Alessandro Farnese in the family’s fortunes, see S. Andretta and C. Robertson, “Farnese, Alessandro,” DBI 45 (1995): 52–70.

18 Introduction and drama.39 Furthermore, members were involved in editing the first printed editions of Tasso’s major modern epic, Gerusalemme Liberata [Jerusalem Delivered], in Casalmaggiore and Parma (1581). This undertaking engendered much admiring discussion of Tasso’s works, especially since the poet joined the Innominati that same year, along with Battista Guarini. Although the academy did not have an official printer until 1592, members sought the group’s imprimatur before going to press, and several members, including Muzio Manfredi, were heavily involved in editing works for publication.40 Tempting as it would be to imagine that Barbara became a member of the academy, perhaps by way of her cousin Pomponio, there is no firm evidence for this supposition.41 At this time, women were only very exceptionally admitted to Italian literary academies, a notable case being the virtuoso actress and writer Isabella Andreini, who was a member from 1601 of the Accademia degli Intenti (“Academy of the Intent Ones”) of Pavia and carried the nickname “l’Accesa” (“The Inflamed One”). Intriguingly, in 1581, the Innominati had admitted the famous Modenese poet and singer Tarquinia Molza (1542–1617), but her nickname “l’Unica” (“the Unique woman”) may provide a further argument against Barbara Torelli’s membership.42 It seems likely, however, that Barbara was closely associated with the 39. Denarosi, ADIP, 29–30, 409–412, 425. For the revived interest in Italy in Aristotle’s Poetics, following the Latin translation by Alessandro de’ Pazzi (1536) and especially the first published commentary by Francesco Robortello (1548), see Bernard Weinberg, A History of Literary Criticism in the Italian Renaissance, 2 vols. (Chicago: University of Chicago Press, 1961); E. N. Tigerstedt, “Observations on the Reception of the Aristotelian Poetics in the Latin West,” Studies in the Renaissance 15 (1968): 7–24. 40. Bevilacqua, “L’Accademia degli Innominati,” 21. 41. For Barbara Torelli’s hypothesized membership, see Denarosi, ADIP, 54, n69, 407, 412; cf. Lisa Sampson, “Drammatica secreta” in Theatre, Opera and Performance in Italy from the Fifteenth Century to the Present, ed. Brian Richardson et al. (Leeds: Society for Italian Studies, 2005): 99–115 (esp.105). 42. See Connor Fahy, “Women and Italian Cinquecento Literary Academies,” in Women in Italian Renaissance Culture and Society, ed. Letizia Panizza (Oxford: European Humanities research Centre, 2000), 438–52. On Tarquinia Molza, see Laurie Stras, Dangerous Graces website: (2002, accessed October 2010); Molza’s verse appears alongside other Innominati members in Giulio Morigi, Delle disavventure di Ovidio… .(Ravenna: Francesco Tebaldini, 1581), 232–34; Affò, Memorie, 4:viii; Denarosi, ADIP, 410 (dates Molza’s admission to the Innominati to 1580).

Introduction 19 Innominati—as was Claudia Noceti, wife of the academy’s founder Eugenio Visdomini and herself a poet.43 No fewer than seven of the twelve named verse contributors to Partenia were members of the Innominati.44 Furthermore, two or perhaps three of Torelli’s own five existing sonnets were composed for works written by members of the academy (Muzio Manfredi, Paolo Filippi dalla Briga, and possibly Giovan Maria Agaccio). The letter of condolences penned by Battista Guarini to Barbara Torelli in 1593 on the death of her husband and mother may similarly indicate a gesture of collegial support.45 That Barbara Torelli had even a peripheral association with the Innominati is significant given the extent of the group’s general experimentation with dramatic theory during the 1580s and their specific experimentation with tragedic, tragicomic and pastoral genres. Muzio Manfredi and the Venetian dramatist and critic Angelo Ingegneri, both of whom thought highly of Torelli’s Partenia, were two of the more active members in this regard.46 Significantly, Battista Guarini presented to the academy a draft of his Pastor fido after he joined in 1581, which falls within the time frame of its lengthy gestation; and by August 1587, Pomponio Torelli had completed a tragedy with a happy ending (Merope, printed in 1589). Lucia Denarosi has hypothesized that a group of Innominati academicians close to Muzio Manfredi, including Ferrante II Gonzaga of Guastalla, also experimented around the same time with different forms of pastoral drama. Their result43. Fahy, “Women and Italian Cinquecento Literary Academies,” 444; Bevilacqua, “L’Accademia degli Innominati,” 14. Cf. the position of Maddalena Campiglia within the Accademia Olimpica (“Olympic Academy”) of Vicenza (Cox and Sampson, eds., Flori, 6–7). 44. Bernardino Baldi, Don Ferrante II Gonzaga, Camillo Malaspina, Muzio Manfredi, Antonio Beffa Negrini, Girolamo Pallantieri, and Fortuniano Sanvitale were all Innominati members. 45. Battista Guarini, Lettere… .(Venice: Appresso Gio. Battista Ciotti Senese, al segno della Minerva, 1593), 169–70. 46. Angelo Ingegneri joined the Innominati in 1583 and was a courtier in Ottavio Farnese’s court 1581–1584. He is most famed for editing Tasso’s Gerusalemme liberata (hereinafter GL), printed 1581, and for preparing the inaugural performance of the theater of the Olympic Academy of Vicenza in 1585. His wide-ranging works include a pastoral play (Danza di Venere, 1584), a tragedy (Tomiri, 1607), as well as a treatise on dramatic composition (Della poesia rappresentativa, 1598). See A. Siekiera, “Ingegneri, Angelo,” DBI 62 (2004): 358–60; and below p. 46 (praise of Partenia).

20 Introduction ing plays, which remain in various stages of completion, suggest their identification of two subgenres of pastoral: the elevated boschereccia (with a tragic plot and heroic characters), and the humbler pastorale (which is closer to comedy). While Partenia would seem to correspond to the pastorale, the Cremona manuscript uses both terms (fols. [+1r], [+2r]).47 Torelli’s association with religious circles in Parma and the surrounding area, as her own verse indicates, may also have been mediated through her connections with members of the Innominati Academy. At least two contributors of verse to the Partenia manuscript were clergymen close to Manfredi—Bernardino Baldi, the Abbot of Guastalla, and Girolamo Pallantieri, a priest at Castel Bolognese.48 Manfredi was also a correspondent with the courtier-priest and possible Innominato, Giovanni Maria Agaccio, who exchanged verse with Torelli.49 Torelli may, however, have brokered her other religious connections, for instance with Vincenzo Ferrini, independently or through a confessor from the late 1590s. It is very likely that during her widowhood especially she cultivated an image of herself, on the model of Vittoria Colonna and Maddalena Campiglia, as a lady devoted to spiritual and intellectual matters and content to shun worldly goods, hoping to deflect any potential suspicions about her virtue. She seems successfully to have maintained a dignified reputation well into 47. Denarosi, ADIP, 285–301; 345–381 (pastoral tragedy and the “boschereccia”); see also Riccò, “Ben mille pastorali”: l’itinerario dell’Ingegneri da Tasso a Guarini e oltre (hereinafter BMP), 309–26. 48. Bernardino Baldi was a wide-ranging intellectual from Urbino, close to Don Ferrante Gonzaga of Guastalla as mathematician from 1580, and then as abbot of Guastalla from 1585. He was a member of the Innominati Academy, and published widely in many disciplines, including mathematics, history and poetry. See Elio Nenci, ed., Bernardino Baldi (1553–1617) studioso rinascimentale: Poesia, storia, linguistica, meccanica, architettura, atti del convegno di studi di Milano, Novembre 19–21, 2003 (Milan: Franco Angeli, 2005); Alfredo Serrai, Bernardino Baldi: La vita, le opere, la biblioteca (Milan: Edizioni Sylvestre Bonnard, 2002); and R. Amaturo’s entry in DBI 5 (1963): 461–64; for Pallantieri, see Translation, n124. 49. Manfredi, LB, no. 104 (letter to Agaccio), 80–81. On the political and religious tensions in Parma and its diocese in this period, see Adriano Prosperi, “Dall’investitura papale alla santificazione del potere. Appunti per una ricerca sui primi Farnese e le istituzioni ecclesiastiche a Parma,” Le corti farnesiane di Parma e Piacenza, 1:161–88.

Introduction 21 old age. Importantly, such attitudes also infused her major work, as we shall see, in terms of both its language and its themes, and may also have contributed to her creative engagement with an increasingly popular new genre in her day, the pastoral play.

Torelli’s Partenia and the Tradition of Pastoral Literature and Drama When Torelli began to write Partenia in 1586, or perhaps earlier, she had available to her a well-developed tradition of pastoral themes in drama and the visual arts and an imposing literary heritage that stretched back to Ancient Greece. This tradition was dominated by male writers since Theocritus and Virgil, and included distinguished humanists such as Angelo Poliziano, Lorenzo de’ Medici, and Jacopo Sannazaro. Nonetheless, the pastoral mode proved appealing to women writers in the mid-sixteenth century, and women poets such as Gaspara Stampa, Veronica Gambara and, later, Laura Battiferri and to some extent Veronica Franco used it in their verse.50 The pastoral proved an ideal mode for exploring feminine concerns such as love and emotions with due decorum, given the “otherness” of its green setting to the realistic world of the city or princely court, and its cast of noble-minded shepherds and nymphs. The pastoral’s focus on what Louise George Clubb has termed “immaterial” reality was typically combined with an artfully contrived, literary style, although the mode was paradoxically associated with “natural” simplicity and even a “crudeness” of style and subject matter.51 These associations allowed 50. See Ann Rosalind Jones, The Currency of Eros: Women’s Love Lyric in Europe, 1540–1621 (Bloomington: Indiana University Press, 1990), 122–41 (on Stampa), 118–154 (on English women writers); Laura Battiferri degli Ammannati, Il Primo Libro delle Opere Toscane [Florence, 1560], ed. Enrico Maria Guidi (Urbino: Accademia Raffaello, 2000); Veronica Franco, Terze rime, n.d. [1575/6], Cap. 25. See also the introduction by Françoise Lavocat to her edition of Lucrezia Marinella, Arcadia felice [first printed 1605] (Florence: Olschki, 1998), VII–LX. Moderata Fonte’s dialogue Il merito delle donne arguably also has a vaguely “pastoral” setting. See generally Bryan Loughrey, ed., The Pastoral Mode: A Casebook (London: Macmillan, 1984); for pastoral performances, see Marzia Pieri, La scena boschereccia nel rinascimento italiano (Padua: Liviana, 1983). 51. Louise George Clubb, Italian Drama in Shakespeare’s Time (New Haven: Yale University Press, 1989), 14, 162.

22 Introduction writers of pastoral works to claim modest pretentions while gracefully displaying their literary virtuosity. At the same time, the pastoral’s apparent lack of realism made it a useful medium for the oblique flattery of patrons or cities, complaints about social practices, or even the covert exploration of polemical ideas. As such, the pastoral mode seemed ideally suited to writers of both sexes, including novices, who were seeking social recognition or a means of voicing criticism while maintaining an appearance of political, religious, and moral orthodoxy, in keeping with the demands for literary production in Italy in the wake of the Council of Trent. In addition, pastoral writings were enabling for women writers living in the sixteenth century due to their typical recourse to the fashionable Petrarchan discourse (used sometimes in dialogue with “rustic” and erotic undertones). Petrarchism had quickly gained social legitimization early in the century as an elitist and “decent” form of discourse that represented desensualized or neoplatonic love. Furthermore, as Virginia Cox has persuasively argued, Petrarchism offered women writers both more well-defined and readily available vernacular models and a clear literary codification as effected by Pietro Bembo.52 Torelli must have favored the pastoral mode for many of these reasons, as well as for its immense popularity in courts and literary coteries and among writers such as Bernardino Baldi, Girolamo Pallantieri and Muzio Manfredi—all of whom contributed verse to the Partenia manuscript.53 As we have seen, members of the Innominati Academy of Parma also experimented with pastoral drama and numbered among the leading exponents of the genre. These members were all acquainted to some extent with Barbara Torelli and her family: Battista Guarini was, as noted, in correspondence with her; Tasso’s Parma edition of his Aminta (1581) was dedicated to Pomponio 52. Cox, WW, 58; contrast the view of Petrarchism as a restrictive, even alienating discourse for women in Sara Maria Adler, “Veronica Franco’s Petrarchan Terze Rime: Subverting the Master’s Plan,” Italica 69 (1988): 213–233. 53. See, for example, Baldi’s eclogues (composed 1584; printed in his Versi e Prose, Parma, 1590, dedicated to Ranuccio Farnese); and Girolamo Pallantieri’s Italian translation of Virgil’s Eclogues, see Translation, n124. These poets together with Manfredi were active in the coterie headed by Isabella Pallavicino Lupi Marchioness of Soragna—as was Maddalena Campiglia (see her Calisa, 1589).

Introduction 23 Torelli; and Angelo Ingegneri must have been familiar with Barbara Torelli and her Partenia in order to praise it so highly in his theoretical treatise on drama.54 Compared with pastoral verse, pastoral drama posed additional complications for women writers of both a social and a technical nature. Drama was, at least theoretically, a much more “public” form, primarily because of its realistic setting, in the cases of comedy and tragedy, and its association with the stage. By the late sixteenth century, theater (especially comedy) was becoming increasingly professionalized in Italy and had grown enormously popular with all but a few literary elites and churchmen who criticized its lack of propriety and morality. Their criticism often focused on theater’s disruptive social effects, particularly following the rise of virtuoso actresses in the 1560s.55 Yet, of all the dramatic genres, the pastoral, with its generally moderate tone and decorous themes, was the least offensive to contemporary sensibilities. Its secluded setting permitted the representation of decent female characters (nymphs) interacting with shepherds, a significant departure from early Renaissance comedy where, following Roman conventions, virgins were mostly absent, leaving the urban stage setting to prostitutes, bawds, maids, and matrons. As Angelo Ingegneri noted: “by allowing virgins and chaste women on stage, which comedies do not allow, [pastoral plays] give rise to noble emotions

54. Angelo Ingegneri, Della poesia rappresentativa e del modo di rappresentare le favole sceniche (hereinafter DPR)[Ferrara: Baldini, 1598], ed. Maria Luisa Doglio (Modena: Panini, 1989), 25. For Ingegneri’s pastoral play La Danza di Venere (hereinafter DV) (performed in Soragna before Isabella Pallavicino Lupi in 1583), see the edition by Roberto Puggioni, with introduction (Rome: Bulzoni, 2002), 9–35. 55. Bernadette Majorana, “Finzioni, imitazioni, azioni: Donne e teatro.” In Donna, disciplina, creanza cristiana dal XV al XVII secolo: Studi e testi a stampa, ed. Gabriella Zarri (Rome: Edizioni di storia e letteratura, 1996), 121–39; Richard Andrews, “L’attrice e la cantante fra Cinquecento e Seicento: La presenza femminile in palcoscenico,” in Teatro e Musica. Écriture vocale et scénique, Actes du Colloque, February 17–19, 1998 (Toulouse: Presses Universitaires du Mirail, 1999), 27–43; and “Isabella Andreini and Others: Women on Stage in the Late Cinquecento,” in Women in Italian Rensaissance Culture and Society, ed. Letizia Panizza (Oxford: Legenda/European Humanities Research Centre, 2000), 316–33. On female actors in tragicomic and pastoral performances, see Robert Henke, Performance and Literature in the Commedia dell’Arte (Cambridge: Cambridge University Press, 2002), 85–105.

24 Introduction not inappropriate to tragedies themselves.”56 In this respect, pastoral drama builds upon the taste for female characters on stage developed by audiences of tragedy, repopularized with Giambattista Giraldi Cinthio’s Orbecche (first performed 1541), and upon the new genre of “serious” comedies, initiated with the Intronati academy’s pioneering Gli Ingannati [The Deceived] (performed 1532). The composition around 1586 of a “regular,” five-act pastoral drama would also have posed considerable technical difficulties for Torelli, because of its complex structure and the lack of known female-authored precedents. The earlier female-authored drama produced within convents or for lay devotional organizations was by comparison much more loosely constructed and performanceoriented, as were the rare examples of secular drama composed for political or courtly occasions, which include Moderata Fonte’s Le feste, performed before the Doge of Venice in 1581, and Laura Guidiccioni Lucchesini’s three pastoral ballets, performed before the Medici court in the 1580s.57 Torelli’s Partenia thus seems to be the first documented 56. “admettendo le vergini in palco e le donne oneste, quello che alle comedie non lice, danno luoco a nobili affetti, non disdicevoli alle tragedie istesse” (“palco” is here understood as stage, rather than as the seats for the audience) (Ingegneri, DPR, 7). See Richard Andrews, “The Intronati and Sienese Comedy” and “Tragedy,” in A History of Italian Theatre, ed. J. Farrell and P. Puppa (Cambridge: Cambridge University Press, 2006), 58–60; 84–90; and Alexandra Coller, “The Sienese Accademia degli Intronati and its female interlocutors,” The Italianist 26 (2006): 223–46. 57. On the long tradition of Italian female-authored religious drama, beginning with Antonia Tanini Pulci (1452–1501), focused on the Florentine context, see the fundamental study by Elissa Weaver, Convent Theatre; and Elissa Weaver, ed., Saints’ Lives and Bible Stories for the Stage, trans. James Wyatt Cook, OVIEME (Toronto: Center for Reformation and Renaissance Studies, 2010). Cf. also the French theatrical works composed from the 1530s by Marguerite de Navarre (1492–1549) and Catherine des Roches (1542–1587), Théâtre de femmes de l’Ancien Régime, vol. 1. XVIe siècle, ed. Aurore Evian et al. (Saint-Étienne: Publications de l’Université de Saint-Étienne, 2006). On Fonte’s Le feste, see above note 13; and Paola Malpezzi Price, Moderata Fonte: Women and Life in Sixteenth-Century Venice (Madison: Associated University Presses, 2003), 31. See also Warren Kirkendale, “L’Opera in musica prima del Peri: Le pastorali perdute di Laura Guidiccioni ed Emilio de’ Cavalieri,” in Firenze e la Toscana dei Medici nell’Europa del ’500, ed. Giancarlo Garfagnini, 3 vols. (Florence: Olschki, 1983), 2: 365–95. Andreini’s Mirtilla may have been composed some time before its print publication in 1588, see Lisa Sampson, Pastoral Drama in Early Modern Italy: The Making of a New Genre (Oxford: Legenda, 2006), 119.

Introduction 25 example of what Virginia Cox has identified as a trend among Italian women writers in the 1580s of attempting more ambitious secular genres—including the epic romance. This trend was a consequence of a general shift toward less “realistic” and more polite modes of writing in the post-Trent period, which, paradoxically, meant that women writers, who were normally more restricted than their male counterparts by issues of propriety, found themselves on a more level playing field and able to engage with a wider range of genres.58 Torelli began preparing Partenia at a time when pastoral drama, compared with classically-inspired comedy and tragedy, was still a relatively “new” genre. Established in the mid-1550s with Agostino Beccari’s Il Sacrificio [The Sacrifice] (performed 1554; printed 1555), it drew on a range of dramatic and literary forms such as eclogues, mythological plays, ancient satyr drama, and rustic comedy.59 With the print publication of Torquato Tasso’s Aminta (1580), pastoral drama gained enormous appeal. However, it still lacked a theoretical codification of the sort that had engulfed tragedy since the revival of critical interest in Aristotle’s Poetics in the 1540s, a factor that deterred most women from engaging with this form.60 Pastoral drama, on the other hand, offered dramatists the freedom to experiment with plot structure, themes, and characterization, for which they could draw on recombinable units or “theatergrams” from a range of dramatic and literary works.61 Only in 1587 did theoretical debate on pastoral tragicomedy begin in earnest, with Battista Guarini’s response to an appar58. Virginia Cox, “Fiction, 1560-1650,” in A History of Women’s Writing in Italy, eds. Letizia Panizza and Sharon Wood (Cambridge: Cambridge University Press, 2000), 52–64. See also Cox, WW, 131–65: and “Prodigious Muse,” esp. 92–118 (detailed comparative reading of Italian female-authored pastoral drama, including Partenia). 59. Pieri, Scena boschereccia; Sampson, Pastoral Drama. 60. The first and only known Italian female-authored tragedy of the period is Valeria Miani Negri’s La Celinda (Padua, 1611); see Katie Rees, “Female-authored drama in early modern Padua: Valeria Miani Negri,” Italian Studies 63 (2008): 41–61, and Cox, “Prodigious Muse,” 119–28. On women discussing tragedy, see Sampson, “The Dramatic Text/Paratext: Barbara Torelli’s Partenia, favola boschereccia (MS, c.1587),” 118–19, and Torelli’s verse for Manfredi’s tragedy, appendix B, poem 1. For the popularity of Aminta in print in Italy and beyond, see Lorenzo Carpanè, “La fortuna editoriale tassiana dal ’500 ai giorni nostri,” Italianistica 25: nos. 2–3 (1995): 541–57. 61. For Louise George Clubb’s concept of “theatergrams,” see Italian Drama, 3–26.

26 Introduction ent critique of his unprinted Il Pastor fido, which was then circulating privately among courtly audiences and in academies.62 The ensuing debate raised, for the first time, questions about how to reconcile the fundamental Aristotelian principles of unity, imitation, and verisimilitude, and the classical ideal of decorum, with the “hybrid” and “unrealistic,” tragicomic pastoral drama. The controversy also questioned the very role of drama in society—was it to entertain or to teach? Unlike Maddalena Campiglia and Valeria Miani, whose plays were printed after the debate was underway, Torelli left no explicit indication of her dramaturgical practices.63 This may reflect the fact that Partenia was composed before pastoral drama began to attract wider critical attention, or that Torelli preferred to keep her play aloof from the male-dominated critical scene in view of her social status. In either case, we are left to infer Torelli’s poetic aims by examining her choice of structure and themes, and the models she imitated. As the following analysis of Partenia will show, however, Torelli seems to have been influenced in various ways by the experiments that her local academy had been conducting with pastoral drama since 1581. Her choices consistently reflect her serious literary aims and her concern with moral and religious decorum, though she makes some striking alterations to the tradition to accommodate a new, feminine voice.

Structure and Themes in Partenia Rather than a mythological and remote Arcadia, the action of Torelli’s five-act, pastoral play unfolds in Collecchio, “the country estate of… the most excellent Duke of Parma.” Torelli evokes this rural area, which lies about seven miles southwest of Parma, where the Farnese maintained a villa and hunting grounds,64 through generic allusions to vineyards and hills, to a wise woman of Parma (5.3) and, specifically, to 62. Weinberg, Literary Criticism, 1:26–31; 2:1074–1105. 63. See Philiep Bossier, “L’uso strategico del paratesto e l’esempio di Maddalena Campiglia (1588),” in Soglie testuali: Funzioni del paratesto nel secondo Cinquecento e oltre/Textual Thresholds: Functions of Paratexts in the Late Sixteenth Century and Beyond, eds. P. Bossier and R. Scheffer (Manziana (Rome): Vecchiarelli, 2010), 139–55; and Rees, “Femaleauthored drama.” 64. Molossi, Vocabolario topografico, 96–97.

Introduction 27 the nearby river Taro (5.3, 427–28) and Mount Armato (4.4, 5.2). The play otherwise provides few topographical markers. Its staging would require only some free-standing trees, including a laurel (3.1.163), and possibly in the backdrop a hill on one side and a stream on the other (2.3). An indoor stage set could also represent the important loci for the offstage action: Diana’s temple and a mountain (Monte Armato), as well as the less commonly featured tomb of a shepherd’s beloved.65 These indications of setting would immediately signal to audiences and readers Partenia’s graceful allusiveness to courtly reality in pastoral guise, following the example of Castiglione and Cesare Gonzaga’s eclogue Tirsi (first performed 1506) and, more ambiguously, Tasso’s Aminta, which draws on the model set by Virgil’s eclogues.66 The frequent obsequious references to the authoritative, offstage shepherd Ottinio, a wise and beloved patron, were probably intended for Duke Ottavio Farnese. A rather cryptic passage in Act 5, scene 3 perhaps alludes to two courtier-writers in Farnese’s entourage, namely Angelo Ingegneri (Leucippo) and Girolamo Pallantieri (Pallantio). As mentioned above, Calisa (5.3) and the character Talia respectively evoke the aristocratic Marchioness Isabella Pallavicino Lupi and Barbara Torelli herself, using their established literary pseudonyms.67 However, one should be cautious about reading Torelli’s play as purely a drame à clef; as in Tasso’s Aminta, some of the characters (Clori, Ergasto, and Elpino) resist a strictly allegorical interpretation, and the allusions cannot consistently be tied to biographical evidence. The inclusion of a temple to the chaste goddess Diana and a tomb in 65. On pastoral staging, see Adriano Cavicchi, “Imagini e forme dello spazio scenico nella pastorale ferrarese,” in M. Chiabò and F. Doglio, eds., Sviluppi della drammaturgia pastorale nell’Europa del Cinque-Seicento, Centro Studi sul teatro medioevale e rinascimentale (Viterbo: Union Printing, [1992]), 45–86; Pieri, Scena boschereccia, esp. ch. 9 (“La breve stagione della drammaturgia”). On the pastoral tomb and temple, see Translation, nn60–61. Note that all references to Torelli’s Partenia follow the act, scene and, where relevant, line numbers used in this edition (hence 3.1.163 refers to Act 3, scene 1, line 163). 66. Alain Godard, “La Première Représentation de l’Aminta: La Court de Ferrare et son double,” 187–301 (esp. 226–86). 67. For the identification of Ottinio as Duke Ottavio Farnese, see Silvio Calandra’s sonnet for Partenia, fol. 73v (appendix A, poem 12, line 9); and Zonta, “La Partenia,” 206. For biographical aspects of the characters Leucippo, Pallantio, and Calisa, see respectively Translation, nn4, 30, and 124 and 126.

28 Introduction the idyllic setting of Partenia highlights, rather, the play’s classicizing, mythological, and religious frame of reference. The plot of Partenia is relatively simple compared to that of many contemporary pastoral plays, which, following Beccari’s Sacrificio, have multiple, interlinking strands of plot, featuring lovers pursuing various, often reluctant, beloveds. The main events in Partenia revolve around the secret love rivalry between two shepherd friends, Tirsi and Leucippo, over the chaste nymph Partenia, a devotee of Diana. Leucippo is correctly confident that his wealth will make him the more favorable marriage partner for Partenia, and in Act 4 scene 2 he duly learns that Ergasto (Partenia’s father) has accepted his suit. Meanwhile, Tirsi, unaware of these events, tricks Partenia into unwittingly making a solemn vow in Diana’s temple that she will wed no one but him (reported 2.1). Tirsi only begins to understand the seriousness of the “grave error” (3.3.547) that he has committed against the gods and his friend—Partenia significantly is not mentioned—when he learns of Leucippo’s love for Partenia. Tirsi’s epiphany occurs at the center of the play, just after an echo sequence, a device often used in pastoral drama to convey divine revelation as well as for dramatic effect.68 The action takes a darker turn in Act 4 scene 3, when Tirsi resolves to sacrifice himself in order to release his beloved Partenia from her vow. In the following scene, Partenia describes her terrifying and portentous vision of the enraged Diana accompanied by the Furies tormenting the mythical children of Aeolus (Canace and Macareo, famous for their incestuous relationship). This prompts Partenia to recall her fateful vow to Tirsi and to realize that she is now caught between choosing to obey Diana or her father; she does not, however, understand the coded warning against incest, which Leucippo also vaguely senses (2.3.185–86; 4.2.20–24, 44–45). In desperation, Partenia flees at the end of the act to Monte Armato, intending to end her 68. Echo devices were used in many contemporary pastoral plays, usually in the central act (3); see, for example, Campiglia, Flori; Leone de’ Sommi, Irifile; Muzio Manfredi, Semiramis boschereccia (for comic effect); they could also appear later, as in Guarini, Pastor fido (4.8), and Ingegneri, Danza di Venere (5.1; to deliver ambiguous information). See Vittorio Imbriani, “L’Eco responsiva nelle pastorali italiane,” Giornale napoletano di filosofia e lettere, 2/11 (1872): 279–314; Guarini’s commentary (Annotationi) on PF (1602), 177r–178r); Ingegneri, DPR, 18–19; and Translation, n90.

Introduction 29 dilemma by throwing herself to her death, in the manner of Tasso’s hero Aminta (Aminta, 3.2; 4.2). She and Tirsi do not return to the stage again. Their fate is revealed in the report of their chance encounter offstage (5.2), when Partenia berates Tirsi for his deviousness, and he begs forgiveness before spontaneously expiring, provoking her own apparent death in her companion’s arms. The expected reversal from a tragic to a happy ending in the final act is prepared by a recognition scene, a dramatic device brought into pastoral drama from serious comedy, tragedy, and epic/romance, that became a staple of the genre following Guarini’s Pastor fido.69 During his lamentations over the supposed deaths of Partenia and Tirsi, Ergasto discovers Leucippo to be his long-lost son, abducted by a wolf as a babe, but rescued and raised by the aged shepherd Pallantio (5.3). The happy ending (lieto fine) follows suddenly when Coridone brings news that his companion Talia—Partenia’s close friend—has restored the fallen couple to life using her knowledge of woodland herbs, after which Ergasto allows them to marry. Coridone and Talia thus serve an instrumental “comedic” function in bringing about the happy ending to ensure the appropriate tragicomic balance. Within the first half of the play, these characters also provide a lighter secondary plot of sorts, which explores the vicissitudes of earthly, marital love, with its concomitant pleasures of reciprocal affection, pangs of sexual jealousy, and fear of death.70 Talia’s name, taken from the muse of comedy and idyllic poetry, clearly indicates her structural function in the play. However, her initial position as a spokesperson for the joys of sensual, reciprocal love (1.3) changes following her encounter with Lice, a shepherd grieving at the tomb of his unnamed lover (1.4). This episode makes her painfully aware of the transience of human love and colors her subsequent encounter with Coridone (3.1). Just 69. See Raphael Lyne, “English Guarini: Recognition and Reception,” Yearbook of English Studies 36, no.1 (2006): 90–102. Early pastoral plays that use recognition include: Alberto Lollio, Aretusa (1564); Giraldi’s unfinished Favola pastorale [Pastoral Play]; and Angelo Ingegneri, DV (1584). Guarini’s PF uses the device to more dramatic effect by staging a Sophoclean investigation, rather than a recognition based on external signs. Tasso’s Aminta does not use recognition. 70. Riccò, BMP, 326–28; on the pastoral name Coridone, which possibly contains an allusion to Torelli’s husband, see Translation, n63.

30 Introduction before Tirsi’s tragic revelation, at the exact center of the play (in the twelfth of twenty-three scenes, 3.2), Talia leaves the stage with her beloved Coridone to visit the tomb, where Talia will later revive Partenia and Tirsi—arguably a self-referential poetic maneuver on the author’s part.71 Unlike many plays of its time, Partenia bears the heavy influence of Tasso’s Aminta, not only in terms of its lyric style and situations, but also of its structure, which shifts in the course of the more comedic first two acts toward a strong tragic bias in Acts 3 and 4. Similarly, Partenia uses the device of “false suicides” and shows a preference for narrated (as opposed to staged) action, especially in the final act, where two messengers are introduced.72 Interestingly, Talia’s departure from the stage after Act 3 mirrors that of Tasso’s Tirsi, who is also regarded as a poetic figure for the author.73 However, Torelli departs from Tasso’s model in other important respects. Most noticeably, she strips Partenia of the hedonistic, sensual elements of Aminta: Diana, the goddess of chastity, presides over the action of Partenia in place of her sensual counterpart Cupid or Venus; Torelli’s satyr, Cromi, never encounters the nymph as Tasso’s satyr does in a narrated (offstage) attempted rape scene (Aminta, 3.1); and Torelli carefully removes any hint of longing for erotic freedom as is promoted in Tasso’s notorious Golden Age chorus 1. Instead, Partenia focuses firmly on eros within the domestic bounds of marriage, following the more “comedic” examples of pastoral drama by Alberto Lollio (Aretusa, printed in 1564) and Giambattista Giraldi (unfinished Favola pastorale [Pastoral Play], 71. Riccò (BMP, 327) attributes the revival of the lovers to both Coridone and Talia. 72. Cf. the roles of Nerina and Elpino bearing respectively false and true news in Aminta (3.2; V.1) with Clori and Coridone in Partenia (5.2; V. 4). On the structure of Aminta, see Claudio Scarpati, “Il nucleo ovidiano dell’Aminta,” in Tasso: I classici e i moderni (Padua: Antenore, 1995), 75–104 (esp. 75–79). For the influence of Aminta on Italian pastoral drama generally, see Louise George Clubb, “The Making of the Pastoral Play: Some Italian experiments between 1573 and 1590,” in Petrarch to Pirandello, Studies in Italian Literature in honor of Beatrice Corrigan, ed. Julius A. Molinaro (Toronto: University of Toronto Press, 1973), 45–72; and for Aminta’s varying influence on early modern, female-authored pastoral, see Cox, “Prodigious Muse,” 97–118. For contemporary views that Tasso modeled his Aminta on Speroni’s tragedy Canace, see Ingegneri (DPR, 4), and Guarini (letter to Speroni, 1585, in Opere di Battista Guarini, ed. Marziano Guglielminetti (Turin: UTET, 1971), 109). 73. Godard, “La Première Représentation,” 226–31.

Introduction 31 c.1554), as well as, importantly, Angelo Ingegneri’s Danza di Venere [Dance of Venus] (1584) and Guarini’s Pastor fido, which offers a polemical rewriting of Tasso’s famous chorus (chorus 4).74 Partenia’s representation of male love rivalry and heroic female figures also suggests Torelli’s nod to the tradition of “serious” comedy, though she excises anything remotely comic or earthy even more thoroughly than Maddalena Campiglia does in Flori.75 Torelli infuses Partenia with an unusually strong and almost unrelentingly tragic (or elegiac) dimension that is evident at all levels of the play, including its plot, themes, and language. She alludes to various ancient and modern tragedies including Euripides’ Hippolytus, Speroni’s Canace (composed in 1542), and perhaps Tasso’s Torrismondo (printed 1587), as well as to epic characters (from Homer’s Iliad; Virgil’s Aeneid; and Tasso’s Gerusalemme liberata) alongside mythological ones, adding intertextual resonance to the themes of love rivalry, unintended incest, and doomed passion. In so doing, Barbara Torelli makes an important innovation in the pastoral genre, ennobling it perhaps in order to align it with the preeminent status of the tragedy and the epic in the neo-Aristotelian canon. This innovation may reflect her awareness of discussions on these genres as well as on tragedy with a happy ending and on pastoral drama within the Innominati Academy. However, Partenia’s most striking feature, within the context of contemporary pastoral drama, is undoubtedly its prominent integration of a spiritual and even Christian dimension. This dimension is particularly evident in the play’s treatment of its main theme, namely, 74. On experimentation with pastoral plot structure, see: Riccardo Bruscagli, “Ancora sulle pastorali ferraresi del Cinquecento: la parte del Lollio,” in Sviluppi della drammaturgia pastorale nell’Europa del Cinque-Seicento, ed. M. Chiabò and F. Doglio (Viterbo: Union Printing, [1992]), 29–43; Armando Fabio Ivaldi, “L’ esordio del dramma pastorale: fra sperimentazione e mimetismo,” in Teatro italiano, ed. M. de Panizza Lorch (Milan: Edizioni di Comunità, 1980), 381–86. For the strong connections between Ingegneri’s DV and Partenia, see Riccò, BMP, 327–28. On Guarini’s rewriting of Tasso, see Matteo Residori, “ ‘Veder il suo in man d’altri’: Note sulla presenza dell’Aminta nel Pastor fido,” Chroniques italiennes 5 (2004):1–15 (http://www.univ-paris3.fr/recherche/ chroniquesitaliennes). 75. Cf., for example, Sforza d’Oddi’s popular comedy Erofilomachia (1572) [The Struggles between Love and Friendship]; and p. 24 above (serious comedy and Intronati academy); Maddalena Campiglia’s Flori, 1.6; 4.3.

32 Introduction love in Partenia, which departs from and downplays the usual earthbound, sensual perspective and promise of erotic satisfaction in favor of spiritual fulfillment or chaste forms of affective relationships. Torelli’s novel moral and spiritual reorientation of pastoral drama seems to place her, alongside her contemporary Maddalena Campiglia, at the forefront of a new trend within the genre post-Aminta, a position usually reserved for Guarini and his Pastor fido (printed in 1590). Partenia should thus be regarded as evidence of feminine pioneering experimentation with a genre for the purpose of adapting it to reflect the prevailing ethos of the age.76 Of course, Torelli’s representation of love as a means of effecting the lover’s spiritual ascent from earthly desire to contemplation of the divine was in itself far from new. Rather, it drew on a long tradition of Italian lyric verse, canonized by Dante and Petrarch, which had been imbued with neoplatonism, especially as a result of the work of Marsilio Ficino since the fifteenth century.77 Partenia represents a similar “ladder of love”: earthly love ranges from the base sexual appetite of the satyr Cromi to Leucippo’s professed companionate love (4.2.22–24), Ergasto’s surprisingly visceral paternal love (2.6; 5.2), Talia and Coridone’s mutual love, and Lice’s enduring love for his unnamed dead lover. Tirsi’s love for Partenia at times borders on spiritual devotion with stil novo inflections (especially 1.1), though he is prepared to resort to trickery to secure her hand (2.1).78 Partenia herself represents perfect, chaste love, in the dual forms of filial (earthly) and spiritual devotion. Apparent conflicts between these dual forms are ultimately reconciled when she agrees to an arranged 76. Sampson, Pastoral Drama, ch. 4, esp. 122–23; for comparative analysis with Campiglia’s Flori, see Cox, “Prodigious Muse,” 102–6. 77. See Marsilio Ficino’s popular Commentary on Plato’s Symposium on Love, trans. Jayne Sears (Dallas: Spring Publications 1985), vii. For the unusual, pro-feminist treatment of neoplatonic love in Campiglia’s Flori, see Cox and Sampson, eds., Flori, 21–22. On the latent misogyny in Platonic love, see the questions raised by Tullia d’Aragona’s Dialogue on the Infinity of Love, ed. and trans. Rinaldina Russell and Bruce Merry, OVIEME (Chicago: Chicago University Press, 1997), 35–39. See also Richard Cody, The Landscape of the Mind: Pastoralism and Platonic Theory in Tasso’s Aminta and Shakespeare’s Early Comedies (Oxford: Clarendon Press, 1969); and for Guarini’s PF, Florence Ada Kirk’s introduction to John Fletcher’s The Faithful Shepherdess (New York: Garland Publications, 1980), liv–lvii. 78. Cf. Coridone’s use of force to capture Amarilli, on finding her promised to another suitor in Ingegneri, DV.

Introduction 33 marriage whereby she sacrifices her desire for virginity in order to satisfy both divine and parental (societal) will. Unusually, Partenia never undergoes a “conversion” to love from her chaste service of Diana, as most pastoral nymphs do as part of a “civilizing” process.79 Rather, she remains constant in her yearning for spiritual, virginal love (1.3; 2.4; 4.4) as opposed to its pale, earthly shadow. This yearning derives from her view, contrary to the prevailing misogynistic religious discourse, that men’s love is spiritually dangerous and fickle (“for if he loves a woman’s body he hates her honor and the good of the soul,” 1.3.362)—a view supported by Tirsi’s actions and Coridone’s jealous misogyny.80 Partenia is finally reported as requesting permission to marry Tirsi, not because she loves him, “but only because she has made a vow” (5.4.484). Partenia’s spiritual devotion is not surprising given that her name signifies virgin or the Virgin (from the Greek parthenos). The play would thus have immediately alerted audiences to the possibility of a Christian dimension. The play’s setting near Parma, a town known for its veneration of the Virgin, would similarly have highlighted the author’s own piety and civic devotion.81 On the face of 79. This may have inspired Maddalena Campiglia’s more radical Flori (1588), where Flori enters a chaste spiritual relationship with the shepherd Alessi. Rare exceptions of pastoral plays where the heroines remain single include Alberto Lollio’s Aretusa and Livio Pagello’s Cinthia (MS). The burning pain that Partenia experiences on informing Diana that she has agreed to marry (3.4.604–7) seems more likely a divine punishment than an effect of love. 80. Cf. Cesare Gonzaga’s critique on male ruses in love in Castiglione’s Il Cortegiano (3.50, 54) and especially the more extended polemic in Moderata Fonte’s contemporary Il Merito delle donne (Venice: Presso Domenico Imberti, 1600); The Worth of Women, Wherein is Clearly Revealed Their Nobility and Their Superiority to Men, ed. and trans. Virginia Cox, OVIEME (Chicago: Chicago University Press, 1997), 74–76. Torelli may have influenced in this respect Campiglia’s Flori, 2.5 (Serrano’s fickleness), Cox and Sampson, eds., Flori, 135–7; see also 2.2; and the manuscript Tragicomedia pastorale (n.d., c. early 1590s) attrib. to Leonora [Belatta] Bernardi, see Cox, “Prodigious Muse,” 92–93, 109. On misandry in convent drama, including that of Antonia Pulci, see Weaver, Convent Theater, 101. 81. Cristina Cecchinelli, “Culto della Vergine e devozione cittadina: Parmigianino e Correggio interpreti dei dogma mariani,” Aurea Parma, 86: 3 (2002): 443–92. The Innominati Academy was likewise devoted to the Virgin: its first major publication was Jacopo Sannazaro’s De partu virginis [The Virgin’s birth], in a vernacular translation by Eugenio Visdomini (1575), which presents the Annunciation as the first pivotal moment in the scheme of human redemption.

34 Introduction it, Partenia follows the conventions of a typical pastoral: it presents a largely pagan, mythological world, albeit one grounded in Christian morality and the order of divine providence. In this respect, as Battista Guarini has noted, pastoral tragicomedies—compared to the dissolute comedy or the violently excessive tragedy—were well suited to Counter-Reformation sensibilities, though they did not teach, but only disposed audiences toward virtue.82 Torelli’s characters worship the woodland deities distinctly, according to their gender: the nymphs observe the stern goddess Diana, while the male characters invoke the sensual woodland god Pan, or unspecified “gods.”83 While the characters initially fear that these gods will punish them for their personal failings (2.6.399–400), the play ultimately demonstrates how the benign hand of heaven ensures that faith, moral behavior, and repentance for one’s sins are rewarded in unforeseen ways. For his repentance and self-sacrifice, Tirsi wins Partenia’s hand; for his chaste love for Partenia, Leucippo avoids incest and gains a loving father and sister without losing his closest friend.84 By allowing his daughter to marry another suitor, Ergasto saves his daughter, regains his son, and wins the hope of progeny. Only the tragic Lice, whose excessive grief over his dead beloved—for which Talia warns him against impiety (1.4.739–40)—obscures any sense of heaven’s redemption, is excluded from the general happy ending, with his fate left curiously unresolved (see 5.2; 5.4). No one character is privileged with a full understanding of the complex workings of divine providence, though the play drops various prophetic hints. Instead, the play endorses, especially through the two male elders, the quietist idea that mortals must trust in and submit to divine will, since, as Ergasto observes, “whatever goodness 82. Battista Guarini, Il Verrato, in Opere di Battista Guarini, ed. Marziano Guglielminetti (Turin: UTET, 1971), 764–80, 797. See also Federico Schneider, Pastoral drama and healing in early modern Italy (Aldershot, UK: Ashgate, 2010). 83. Cf. gendered devotional practices in Ingegneri’s DV, Beccari’s Il Sacrificio (revised 1587), and Campiglia’s Flori. 84. On the theme of companionate or chaste marriage, see Maddalena Campiglia, Discorso… Sopra l’Annonciatione della Beata Vergine, & la Incarnatione del S. N. Giesu Christo (Vicenza: Appresso Perin Libraro, & Giorgio Greco compagni, 1585), 5–7 (Mary and Joseph); for an English example, see Edmund Tilney’s The Flower of Friendship (1568), ed. Valerie Wayne (Ithaca: Cornell University Press, 1992), 13–27. Cf. Flori’s preference for chaste mutual love in Campiglia, Flori, 5.1–2.

Introduction 35 one preserves has been granted by heaven and the gods” (2.6. 360–61). The play closes with Clori’s pious reminder: “O gods, how happy are those in the end who worship you, and whose hopes and fears rest in you!” (5.4.525–26). However, Partenia goes far beyond such generalized Christian sententiae and structure, especially through its integration in the character of Partenia of specifically Marian themes and values. The nymph’s absolute devotion to Diana (1.3.341–44) and her petition for protection from the approaching satyr Cromi (3.4.608) seem to parallel veneration of the Virgin Mary as a divine intercessor, a practice that the Council of Trent reaffirmed as the best path to holiness and that stood against the Protestant claim that it was idolatrous to pray to anyone but God or Jesus.85 More strikingly, Partenia herself models Mary in her pious, chaste, and modest behavior, and is described in terms that allude directly to the scriptures. For example, her reported response to her father’s (off-stage) request that she marry, “Let it be as you wish” (“Sia pur come si voglia,” 4.2.196), recalls Mary’s response to the Angel Gabriel at the Annunciation (“Let it be done to me according to your word,” Luke I:38). In an early convent play by Antonia Pulci, Saint Guglielma used similar terms when she agreed to marry in order to please her parents.86 Ergasto’s response is also redolent of scriptural language: “Blessed are the labors… that I have undertaken for you and the sweat that I have expended, and blessed are you, dear daughter by the highest gods” (5.2.199–201). This passage evokes Elisabeth’s salutation to Mary after the conception (“Blessed art thou 85. For the connection between Marianism and the worship of Diana, see Marina Warner, Alone of All Her Sex: The Myth and the Cult of the Virgin Mary (New York: Vintage Books, 1983), esp. ch. 18 (281–83). See also Donna Spivey Ellington, From Sacred Body to Angelic Soul: Understanding Mary in Late Medieval and Early Modern Europe (Washington DC: Catholic University of America Press, 2001), 208–243; and Susan Haskins, “Introduction” to Vittoria Colonna, Chiara Matraini, and Lucrezia Marinella: Who is Mary? Three Early Modern Women on the Idea of the Virgin Mary, ed. and trans. Susan Haskins, OVIEME (Chicago: University of Chicago Press, 2008), 1–41; and on Mary as powerful female rolemodel, Abigail Brundin, “Vittoria Colonna and the Virgin Mary,” MLR 96: no. 1 (2001): 61–81 (esp. 64–68). 86. Cf. Antonia Pulci’s wording: “Se così piace alla tua maestate, / Signor, sia fatto la tua volontate,” in Saint Guglielma (Rappresentazione di Santa Guglielma), in Saints’ Lives and Bible Stories for the Stage, ed. Weaver, 152; see also 176–79, 190–93 (stanzas 40–41 and 59).

36 Introduction among women, and blessed is the fruit of thy womb,” Luke 1:42), which forms the basis for the prayer that by the sixteenth century had come to be known as “The Hail Mary.”87 Furthermore, Partenia, like the Virgin is praised for being “peerless in this world” (4.2.96). These allusions suggest that Partenia represents, both onstage and offstage, a sort of domesticated spiritual obedience that includes the quintessential Marian virtues—piety, obedience, and humility. While Partenia is submissively dedicated to feminine decorum, she is not entirely passive or silent. Like many a virgin martyr before her, she expresses regret at not being able to remain celibate in Diana’s honor, as she had intended (4.2.166–67; 4.4.379–80), and at not vowing to keep herself “intact” (3.4.586–87). Before agreeing to the arranged marriage, Partenia questions and makes logical arguments against the reasons for her father’s request. For instance, Partenia reassures her father that she has no fear of living alone, since heaven will provide for her, and declares that Leucippo’s handsomeness means nothing to her, since, echoing the Virgin at the Annunciation: “I never beheld any other man except you, my father” (4.2.181; see also 5.2.149).88 Her most striking objection, however, addresses her father’s regard for Leucippo’s wealth: “As for riches, you yourself have told me endless times that it is a virtue to scorn them” (4.2.182–83). The play repeatedly affirms this stance, setting worldly and “courtly” attitudes against ascetic, spiritual ones, often such that they are polarized along gender lines.89 The shepherds Tirsi and Leucippo, as well as Coridone and Ergasto, are all too aware of their relative economic status and the advantages wealth confers on the gods, family, and friends (see 4.2.188–92). By contrast, Talia seems idealistically indifferent to wealth (3.1.327), while Partenia actively shuns worldly concerns and embraces an ascetic attitude, connecting the pastoral state with the religious virtues of poverty and humility in a way that reverberates with Torelli’s verse to Agaccio. 87. “Sian benedette… le fatiche, / Ch’ho per te fatte, col sudor ch’ho sparso, / E benedetta sia tu, figlia cara / Dai sommi Dei,” Partenia, 5.2.199–201. See H. Thurston, “Hail Mary,” in The Catholic Encyclopedia, http://www.newadvent.org/cathen/07110b.htm (accessed October 19, 2009); and Ellington, From Sacred Body, 213. 88. “I know not a man” (Luke I: 34). 89. Sampson, “Drammatica secreta,” 104; cf. Torelli’s verse to Agaccio, appendix B, poem 3.

Introduction 37 Partenia’s father, Ergasto, in particular highlights the ambiguity of this issue. Described as descending in a direct line from the golden age “when everyone lived simply and well” (2.3.212),90 he upholds the “humble and lowly pastoral way of life” (2.6.404), thereby distinguishing himself from the avaricious misers and tyrannical lords of the cities (2.3.190–214) who in order to “gain inheritances and honors, or powerful connections,… marry their unhappy daughters off to infirm or decrepit men, or to monsters,” a practice that ultimately brings “dishonor and detriment” to their daughters and families (2.6.405–11). Yet, Ergasto is not immune to the attractions of Leucippo’s great wealth when it comes to judging his suitability as a marriage partner (4.2.154–55) and is prepared to ask Partenia to marry, against her wishes: “But I will do it in such a way that she realizes that I do not want to force her” (2.6.416–17).91 Partenia’s pronounced allusions to religious themes may have been unusual in the pastoral drama of Torelli’s time, but there is a consolidated medieval literary tradition of linking the pastoral setting with the simple, biblical life or using it as a vehicle for disguised Christian polemics, following Virgil’s fourth “messianic” eclogue and Petrarch’s Bucolics—the first of which is entitled “Parthenias,” in reference to Virgil.92 Writers of contemporary works too, often used the pastoral setting, long associated with the nostalgic pagan myth of a simpler Golden Age, to critique the moral failings of courtly and civic life. Torelli’s decision to integrate a Christian ethic into her pastoral play may also, as mentioned above, indicate her debt to earlier religious drama, and in particular convent drama, in which this theme consistently recurs. Although the prevalence of such a female tradition in Parma remains unexplored, the rich, cultural life of urban convents 90. On the topos of the golden age in Italian pastoral writings, see, for instance, Gustavo Costa, La leggenda dei secoli d’oro nella letteratura italiana (Bari: Laterza, 1972). 91. On the Catholic Church’s challenge to abuses in the practice of arranged marriage postTrent, see Joanne M. Ferraro, Marriage Wars in Late Renaissance Venice (Oxford: Oxford University Press, 2001), 147. 92. Francesco Petrarca, Rime, Trionfe, Poesie Latine, ed. by F. Neri et al. (Milan and Naples: Ricciardi, 1951), 808–09. On Christian thought and values in medieval pastoral, see Helen Cooper, Pastoral: Mediaeval into Renaissance (Ipswich: Brewer, 1977), esp. 22, 24–46 (Italian examples); 71–78, 87–98 (shepherds as Biblical figures, associated with moral teaching and redemption); in Guarini’s PF, see Sampson, Pastoral Drama, 146, 159–61.

38 Introduction and Torelli’s documented piety and religious connections make this a strong probability.93 As noted above, Partenia has some similarities to one of the most popular plays of the earliest Italian female dramatist, Antonia Tanini Pulci, namely, Rappresentazione di Santa Guglielma [The Play of Saint Guglielma], which was originally intended for a performance in a convent and was perhaps the first play ever printed by a woman (c. 1490–95).94 The play has a strong ascetic message and focuses on marriage, beginning with Guglielma’s obedient yielding to matrimony for dynastic reasons, despite her wish to remain celibate, and ending, after much travail, with her reunion with her husband, after which they renounce secular power and wealth. As Judith Bryce has argued, Pulci’s main innovation lies in her representation of marriage as an alternative path to personal salvation as well as to the redemption of others. This position counters the longstanding ambivalence that St. Paul and the early Christian fathers expressed about the estate of marriage for women, which they placed below virginity and widowhood. By representing Partenia’s selfless acceptance of marriage, Torelli seems to join Pulci in turning to women’s advantage the paradoxical issues in religious thought of “power and powerlessness, superiority and inferiority, achieving one’s desire through the absolute suppression of desire.”95 The more worldly character of Talia, on the other hand, allows Torelli to explore the relations between the sexes and the possibilities for female agency and independence. As Partenia’s slightly older companion, Talia bears some resemblance to the figure of the “nurse” 93. Weaver’s Convent Theatre focuses mainly on Tuscan examples, but mentions a play from Reggio Emilia (234). The Benedictine convent of San Paolo, Parma, was distinguished by Abbess Giovanna da Piacenza’s artistic patronage of Correggio, and housed the sister of Duke Ranuccio Farnese after her failed marriage to the Duke of Mantua (1584); see Felice Da Mareto, ed., Chiese e conventi di Parma (Parma: Deputazione di Storia Patria per le Province Parmensi, n.d.), 170–71. 94. See above notes 13 and 57. After the first edition of Santa Guglielma in an undated collection of sacred plays (sacre rappresentazioni) by Antonio Miscomini, thirteen more editions appeared in the sixteenth century. 95. Judith Bryce, “ ‘Or altra via mi convien cercare’: Marriage, salvation, and sanctity in Antonia Tanini Pulci’s Rappresentazione di Santa Guglielma,” in Theatre, Opera and Performance, ed. Brian Richardson et al. (Leeds: The Society for Italian Studies, Occasional Papers, 2004), 23–38 (29–32; 31 quotation).

Introduction 39 (balia), a stock character of comedy and tragedy that, as Louise George Clubb has shown, was developed as a “theatergram” in pastoral drama, most prominently in Tasso’s Aminta, to dramatize the contrast between sensual love and chastity.96 In spiritual and moral terms, Talia’s all-too-human state of imperfection allows the audience to identify with her inner conflict between spiritual devotion and earthly love, as well as her growing insight into the transience of human love through her encounter with Lice (1.4.707–09). In her interaction with other male characters (Lice and Coridone), Talia demonstrates the superior virtues of constancy, piety, compassion, and reason, thereby challenging more misogynistic views on women, which the play occasionally gives voice to. Her proactive and morally assertive behavior also contrasts with contemporary norms of female submissiveness. Notably, she reproaches Lice for his excessive grief, which in her view makes him “appear less prudent” (1.4.541–44), and effectively corrects Coridone’s unfounded jealousy and accusations of infidelity (3.1). Interestingly, Talia is presented as a writer (she records Lice’s tragic tale on a nearby tree, 3.1), and her knowledge of woodland herbs, an art historically associated with women, proves essential to the revival of the collapsed lovers.97 One might even tentatively see in Talia’s refuge at the spiritual retreat of the sage hermit Antiniana “where shepherds never lead their flocks” (3.1.180) an allusion to a separate female community and a new creative practice, perhaps inspired to some extent by Antonia Pulci. The moral superiority of Torelli’s female characters is also evident in their capacity for friendship. As in Campiglia’s Flori, Torelli’s women proceed with a consistent ethic of care and compassion. There is no hint of the competitive, or even aggressive, dynamic between nymphs that is sometimes found in pastoral drama, including in Guarini’s Pastor fido.98 The same is true of their dealings with male 96. Tasso, Aminta (1.1); Clubb, Italian Drama, 15–18. 97. Herbal remedies are presented as a core knowledge that only women possess in Fonte’s Worth of Women, Day 2, 168–78, 181 (all references to the trans. by Virginia Cox); see Translation, n135. 98. Cf. Isabella Andreini’s representation of two nymphs overcoming their love rivalry in La Mirtilla, 3.5. However, in Campiglia’s Flori female-female friendship also borders upon same-sex love; see Cox and Sampson, eds., Flori, 23–28. See also Cox, WW, 131–165. On the

40 Introduction characters. Talia’s comforting support of the mournful shepherd Lice makes it clear that friendship, like Christian charity, knows no gender boundaries (1.4.701–03). By contrast, from its opening scenes onward, Partenia raises doubts about men’s capacity to observe the ideals of a total openness of heart, selfless love, and honesty that “the strict laws of friendship” invoke (1.1.28). The secret rivalry between Leucippo and Tirsi prompts the latter to resort to deception in order to gain Partenia’s hand, while the satyr means to use force against the nymph. Coridone’s fear of losing Talia turns into a jealous outburst against the “so imperfect” female sex (2.2.102), although he acknowledges that Talia’s love has been given to him unconditionally and at great spiritual cost (2.2.122–29). In this way, Torelli takes issue with the classical and Renaissance formulations of friendship as a relationship that is possible only between men. Partenia subtly critiques the hypocrisy of this ideal by showing men doubting their male friends and taking advantage of women’s good nature, voluntary obedience, and compassion. At the same time, the play seems to call for all human relationships, including love, marriage, and interfamilial bonds, to adhere to the values of mutual respect and trust, which should characterize friendship—a message that forms an interesting comparison with Moderata Fonte’s more or less contemporary Il merito delle donne [The Worth of Women].99 Torelli’s Partenia therefore deftly negotiates a profeminist voice while ostensibly complying with the patriarchal order of the day. Her unusual approach to the themes of love, friendship, and the polemic against arranged marriage, in particular forms an important contribution to ongoing issues of concern to women. By fusing the predominantly secular, and classically inspired, male-dominated pastoral genre with the flourishing tradition of sacred drama—a dramatic activity in which women did participate—Partenia seems to effect a new departure from the pastoral drama of her time, inspired perhaps by Vittoria Colonna’s “spiritualization” of the secular lyric in the late 1530s, and the later example of Laura Battiferri. However, Torelli’s general lack of discussion of female friendship in contemporary male-authored literature, see Lillian Faderman, Surpassing the Love of Men: Romantic Friendship and Love between Women from the Renaissance to the Present (New York: Morrow, 1981), 72. 99. Fonte, Worth of Women, 122–28; and see above note 80.

Introduction 41 novel integration of Christian elements draws no comment in the paratextual verse composed by named authors in both the Cremona and the Rome manuscripts.100 This lack of commentary, perhaps, is not surprising, given the period in which she was writing, namely, in the years following the convocation of the Congregation of the Index (1571), which specifically prohibited the mixing of Christian and profane subjects. Tasso, for instance, in the revision of his tragedy Torrismondo in 1586–87 carefully diluted the more evident Christian allusions. Even Guarini, in his theoretical writings, grew increasingly vague about the Christian aspects in the Pastor fido and about drawing parallels between the pastoral state and Biblical figures.101 These circumstances, perhaps in combination with the increased levels of local vigilance following the creation of the Parma Index in 1580, may account for why Torelli’s play, though popular in its day among select audiences—including perhaps the circles of a seventeenth-century Cardinal in Rome—remained unprinted and largely neglected in the longer term.

The Transmission and Fortunes of Partenia Manuscript, Performance, and Print By early 1586, Barbara Torelli’s Partenia was evidently circulating rapidly and widely in manuscript form, initially among courtly circles in nearby Mantua and Guastalla, and later more widely in northern Italy and Rome. As mentioned above, Muzio Manfredi played a significant role in its early dissemination. He would have been well aware of this rare play’s potential interest to elites fascinated by theatrical and literary novelties—an interest that might provide him with 100. Sampson, “The Dramatic Text/Paratext,” 127–8; see however the anonymous verse following the play, appendix A, poem 6. 101. See Claudio Scarpati, “Sulla genesi del Torrismondo,” in Dire la verità al principe: Ricerche sulla letteratura del Rinascimento (Milan: Vita e Pensiero, 1987), 157–87; Sampson, Pastoral drama, 146, 150, 159–61. On Tasso’s representation of religious issues in pastoral after Aminta, see Riccò, BMP, 291–360. On the unusual 1580 Parma Index, see Abigail Brundin, “Re-Writing Trent, or What Happened to Italian Literature in the Wake of the First Indexes of Prohibited Books?”, in Reforming Reformation, ed. Thomas Mayer (Ashgate, forthcoming). Thanks to the author for sharing this work.

42 Introduction opportunities to enhance his own position. For instance, in February 1586 he proposed either to read aloud in person or to send a manuscript copy of Partenia to the Duchess of Mantua, Eleonora de’ Medici Gonzaga, whose husband, Duke Vincenzo, was an important patron of the theater.102 Some time before September 1591, Manfredi brought a copy of Partenia together with a copy of his own tragedy Semiramis to Turin, where he presumably gave both as gift manuscripts to Duke Carlo Emanuele I of Savoy, another important theater patron, who was apparently delighted, although that copy of Partenia has since disappeared.103 In mid-March 1587 Manfredi proposed that Torelli’s Partenia be performed to mark the arrival of Ferrante and his new bride, Vittoria Doria, in Guastalla: “I know that Lady Barbara’s Partenia has already been learnt. If your Excellency so wished, I could write to Lady Barbara and we could have it performed for the arrival of your wife, since pastoral stage sets can be prepared quickly and with little expense, and the effect is beautiful and honorable.”104 This proposal was made in similar terms on April 8, but the performance seems not to have occurred, most likely due to Manfredi’s unexplained alienation from the court in 1587. Alternatively, the play may have been considered unsuitable for the occasion either because it was no longer a 102. “la S[igno]ra Duchessa… [m]i disse ancora, ch’ella vedria grandem[en]te volentieri la Partenia, et io lo dico a V[ostra] E[ccellenza] e se la manderà, io gliela manderò, o andrò a leggergliela come mi sarà comandato” (the Duchess also said to me that she would very much like to see Partenia, and for me to tell your Excellency. If you send it to me, I will forward it or go to read it to her, as I am requested), ASP, Epistolario Scelto, “Manfredi, Muzio,” b. 11, fasc. 17 (letter to Ferrante Gonzaga, February 29, 1586). On Eleonora de’ Medici Gonzaga’s patronage of theater and women, see Rees, “Female-authored drama,” 47–48. 103. Manfredi, LB, no. 263, 214 (to Duke Carlo Emanuele of Savoy, dated September 20, 1591); and see above note 35. 104. “So che la Partenia della S[igno]ra Barbara è già imparata. Se V[ostra] E[ccellenza] I[llustrissima] me ’l comandasse, io scriverei alla S[igno]ra Barbara e la potessimo fare recitare alla venuta della S[igno]ra [Vittoria Doria], poiché le scene pastorali si fanno tosto e vi va poca spesa, e la cosa è bella, e onorata,” ASP, Epistolario Scelto, b. 11 (“Manfredi, Muzio”), fasc. 3 (Letter to Ferrante Gonzaga, March 18, 1587); quoted also in Denarosi, “Il Principe e il letterato,” 158. See also Marina Calore, “Muzio Manfredi tra polemiche teatrali e crisi del mecenatismo,” Studi romagnoli 36 (1985): 27–54 (42–43: Manfredi’s relations at the court of Guastalla).

Introduction 43 novelty or because of how previous attempts to perform the play had gone. The possibility that Torelli’s Partenia was staged in some form raises intriguing questions as to where, when, and how. That the Farnese court patronized theatrical activity relatively late, compared with the more established courts of Ferrara and Mantua, is well documented. However, during the 1580s the local feudal aristocracy were clearly active in promoting private dramatic readings and performances of pastoral drama in their castles or urban palaces. These performances were sometimes patronized by noblewomen and may have involved professional or semiprofessional acting companies, or amateurs from court. In a very reserved setting, even noblewomen may have performed. For example, the powerful Marchioness Barbara Sanseverino Sanvitale of Colorno (near Parma) patronized a private performance of a mythological play starring the future Duke of Mantua, Vincenzo Gonzaga, with Ippolita Torelli Simonetta (of the Reggio Emilia branch of the family). In 1583 the Marchioness of Soragna, Isabella Pallavicino Lupi, commissioned the staging of Angelo Ingegneri’s pastoral play, Danza di Venere [Dance of Venus], in her castle in 1583 before a courtly audience that included the prince regent Ranuccio Farnese. The performance featured the Marchioness’s unmarried fourteen-year-old daughter in the role of the lead nymph, together with her ladies-in-waiting.105 This kind of performance—which, to ensure its exclusivity, was rarely documented—seems emblematic of a more wide-spread “secret” courtly tradition of elite women performing theatrical as well as musical and balletic works before their peers (as Castiglione’s Il cortegiano evokes). Pastoral plays performed in this way could evidently bring great prestige to the court, as well as provide a useful form of less expensive and more easily organized in-house 105. Anna Ceruti Burgio, “È una Torelli l’Hippolita amata da Vincenzo Gonzaga,” Aurea Parma, 84 (2000): 39–46. For the Soragna performance of Ingegneri’s DV, see the dedicatory letter to the 1584 edition (to Camilla Lupi), and Manfredi, Cento madrigali (1587), 63 (Camilla Lupi performing in Soragna). The second edition of Giovanni Donato Cucchetti’s La Pazzia, favola pastorale (Ferrara: Appresso Giulio Cesare Cagnacini, e fratelli, 1586; Ad istanza di Francesco Mammarello, Libraro in Parma) was also dedicated to Isabella Pallavicino Lupi following a semiprofessional performance in Parma. For further detail, see Sampson, “Drammatica secreta,” esp. 106–10; and Pastoral Drama, 105–06; on theatre in Parma, see Lina Balestrieri, Feste e spettacoli alla corte dei Farnese (Parma: Palatina, 1981), 16–22.

44 Introduction entertainment. Interestingly, Manfredi seems to have composed his second pastoral play (Il contrasto amoroso [The Amorous Dispute] 1602) with just such a female cast in mind. In the dedicatory letter to Vittoria Doria Gonzaga, he suggests that her ladies-in-waiting could perform the parts of the twelve female nymphs with the single male part (a young shepherd) being performed by a lady cross-dressed.106 Given Barbara Torelli’s social background and her connections with the Gonzaga dynasty, Manfredi, and Isabella Pallavicino Lupi, it is very probable that she attended or at least knew of such private theatrical performances. Whether she composed her pastoral play for such a purpose, one can only speculate. Neither of the remaining manuscripts of Partenia gives any indication of this. Like other “regular” plays composed at this time, Partenia contains no stage-directions or obvious allusions to performance, and the play-text observes the neo-Aristotelian principle of allowing the reader to imagine the scene without additional spectacle, which was considered a subordinate element. The play lacks the typical performance elements that were popular in pastoral drama—dance, musical interludes, comic tussles, or mad scenes—although it does contain a brief echo sequence (3.3). The action mostly occurs offstage, especially that of Partenia, whose dramatic exchange with her father, horrific vision of Diana, and encounter with Tirsi are all reported rather than enacted. On first appearances, therefore, Partenia seems to follow the pattern of other plays that members of the Innominati Academy composed, which were intended as “closet drama” for private reading or recitation.107 Nonetheless, the existing manuscript versions of the play could have been adapted for a performance, undergoing cuts or changes to reflect the available cast, the setting, and the audience, as was typical of this time. Furthermore, contemporary elite audiences did in fact appreciate moving, declamatory recitative, which explains the 106. Manfredi, Contrasto amoroso, fol. A5r–v (Dedicatory letter to Vittoria Doria Gonzaga, October 1, 1601). There is no evidence that any performance of this kind took place. 107. Cf., on the English context, Marta Straznicky, “Closet Drama,” in A Companion to Renaissance Drama, ed. Arthur F. Kinney (Oxford: Blackwell, 2002), 416–30; and in the same volume, Alison Findlay, “Gendering the Stage”, 399-415; see also Alison Findlay et al. “The Play is Ready to be Acted: Women and Dramatic Production, 1570–1670,” Women’s Writing 6 (1999): 129–49.

Introduction 45 popularity of Tasso’s equally “undramatic” Aminta.108 Torelli’s playful allusions to her local courtly context, together with her minimizing of the number of appearances the virginal Partenia makes on stage (she appears in only four scenes, and never in the presence of a male character), may perhaps be taken as some evidence that the author designed the play to be staged. In fact, only three of the ten cast members are female, and they appear onstage in less than half of the play’s twenty-three scenes.109 Even so, the female characters play an essential structural role in regulating the balance between “tragedy” and “comedy,” as well as in mediating the tension between the earthly and the divine that runs through the play. Partenia’s celebration in print must have widened its reputation beyond exclusive courtly circles. The eulogies began with a madrigal Manfredi included in his 1587 collection (Cento madrigali [A Hundred Madrigals]) that praised Torelli’s play for showing how modern women can rival the muses and for outdoing (presumably in moral terms) Euripides’ tragic character Phaedra. The brief caption to this verse explains that Partenia is “in the judgement of all who have read it and understand such matters, the most beautiful that has been seen until now in our tongue.”110 Luigi Contarini expressed a similar view in his “general knowledge” miscellany Vago e dilettevole giardino [Beautiful and delightful garden], which was first printed in Vicenza 1588. In the work’s closing alphabetical index of “Some Illustrious Men of Sacred and Profane Letters,” he presents Torelli, alongside a few other “modern” women including Maddalena Campiglia, as a rare poet and as the author of Partenia (in 1587).111 Most importantly, in 108. Ferdinando Taviani, “Teatro di voci in tempi bui (riflessioni brade su ‘Aminta’ e pastorale),” Teatro e storia 16 (1994): 9–39 (esp. 22–25). 109. Sampson, “Drammatica secreta,” 102. Both Talia and Clori also appear in only four scenes; Talia leaves the stage in Act 3; and is replaced in Acts 4–5 by Clori, Partenia’s companion nymph. 110. “[Partenia] è, a giuditio di chiunque l’ha letta, e se n’intende, la più bella, che fino a quì, in lingua nostra, si sia veduta.” Muzio Manfredi, Cento madrigali (Mantua: Appresso Francesco Osanna, 1587), no. 39: 43. Manfredi’s madrigal appears in the Cremona manuscript, fol. 73r (appendix A, poem 11). 111. “fece una Pastorale intitolata Partenia, cosa così bella, che da giudiciosi è lodata a paro d’ogni altra, nel 1587” (she wrote a Pastoral play entitled Partenia that is so beautiful that it is considered as praiseworthy as any other by judicious readers), Luigi Contarini, Il vago,

46 Introduction terms of the play’s fortunes in the longer term, the Venetian dramatist and critic Angelo Ingegneri—later a rival of Muzio Manfredi—singles out Barbara Torelli’s play for praise in his highly regarded treatise Della poesia rappresentativa [On dramatic poetry] (1598). Therein he lists Partenia among five great examples of the genre, which include those of Tasso and Guarini, drawn from the “thousand pastorals or so which can be read, in manuscript or in print.”112 In terms of the history and context in which Partenia was transmitted, the undated Cremona manuscript transcribed in this edition is difficult to place, and its internal evidence regarding dates is sometimes conflicting.113 This manuscript was clearly compiled after the play had circulated at least among the first inner circle of readers, since it contains fifteen poetic responses from twelve named contributors who come from local courtly and academic circles (Parma, Mantua, and Guastalla) and from further afield (Verona and Sassuolo). Although we cannot assume that all those who contributed paratextual verse were equally close to Torelli or knowledgeable of her work—as the famous verse collection in honor of Irene di Spilimbergo reminds us—these contributions do provide an important, if problematic, means of evaluating the play’s early reception.114 Besides the conventional hyperbolic topoi in praise of learned women, the verse e dilettevole giardino… di novo ristampato, et ampliato, 2nd ed. (Vicenza: Per gli heredi di Perin Libraro, 1589), 469. Muzio Manfredi notably contributes the first paratextual sonnet preceding this work; Torelli does not appear in the section I maravigliosi essempij delle donne (“Marvellous examples of women”), 362–416. 112. Angelo Ingegneri, DPR, 25. Besides the pastoral plays by Tasso, Guarini, and Torelli, Ingegneri praises Paolo Brusantini’s Alcida (now lost, unpublished?), and Ferrante Gonzaga’s unfinished Enone. See Riccò, BMP. 113. The character Ottinio appears alive throughout the play, so if he can be linked to Ottavio Farnese (d. September 1586) much of the play-text must correspond to a version completed by this date; however, if the character Pallantio is to be linked to Girolamo Pallantieri (d. 1591), an apparent reference to his death (5.3.391) suggests a later terminus ad quem, see Translation, nn. 124 and 129. The paratextual verse by Calandra, which is included only in the Cremona manuscript, suggests that Ottinio is dead (appendix A, poem 12). 114. Anne J. Schutte doubts that many of the 143 named authors in the Rime for the death of the young Irene di Spilimbergo (edited by Dionigi Atanagi, 1559) had known or even heard of Irene (“Irene di Spilimbergo: The Image of a Creative Woman in Late Renaissance Italy,” Renaissance Quarterly 44 (1991): 42–61. On the paratextual verse for Partenia, see Sampson, “The Dramatic Text/Paratext.”

Introduction 47 presents some interesting indications of the author’s cultural positioning between court and academy. It also intermittently raises critical questions that were hotly debated in the late sixteenth century, pertaining here to the moral status of Partenia, its relationship to classical models, and its handling of the issues of gender and genre. Particularly striking in this respect is Manfredi’s opening verse, in which he paradoxically praises Torelli’s modest pastoral play for outdoing ancient tragedy with its destructive or deviant passions, as represented by the royal figures of Medea, Phaedra, and Electra. He commends its exemplary moral depiction of the “humble loves” of shepherds and nymphs and its lesson for women on how to avoid love and for men on how to observe faithful friendship.115 Manfredi’s position is interesting to compare with Torelli’s moralizing verse critique of Manfredi’s Semiramis tragedia (appendix B, poem 1; see above note 25). It does, however, uphold the Innominati’s characteristic emphasis on the educative, moral, and moving function of theater over its purely aesthetic function, an emphasis that is also evident in the verse of his co-academician Ferrante Gonzaga, and Prospero Cattaneo (Cataneo). A curiously contrasting perspective, however, is to be found in the sonnet that another academician, Girolamo Pallantieri contributed (appendix A, poem 4). This verse, albeit indirectly, proposes an analogy between Torelli’s “Talia” and the pastoral muse of the same name in the first book of Girolamo Muzio’s Egloghe [Eclogues] (1550), who Muzio used to evoke his lover, the courtesan poet Tullia d’Aragona. This comparison would seem problematic, given Torelli’s bid to establish her impeccable respectability. Importantly, too, as mentioned above, none of the named authors make any reference to the play’s distinctive spiritual and Christian dimensions. The questions of when the verse was composed, whether it was all produced around the same time, and for what purpose all remain unanswered. Some of the verse was evidently completed by 1591, since both Silvio Calandra and Girolamo Pallantieri were dead by then, and three of the compositions— Manfredi’s madrigal, Bernardino Baldi’s 115. The sociological status of pastoral characters aroused great debate from the late 1580s onward, especially in the controversy between Giason Denores and Battista Guarini over the latter’s PF and within Innominati circles in Parma (see Riccò, BMP, 310–26; Sampson, Pastoral drama, 137, 141–52).

48 Introduction first sonnet, and Curzio Gonzaga’s sonnet—had already appeared in print, in 1587, 1590, and 1591, respectively.116 The remaining ten poems could in theory have been prepared later, though it is plausible that all or the majority of these were composed soon after Torelli completed Partenia and before Manfredi left Italy at the end of 1590, staying away until 1596. This hypothesis is strengthened by the fact that the contributors were nearly all connected to courts and academies with which Manfredi was closely associated in these years, namely, those in Parma, Guastalla, and Mantua. The composition and publication dates of the paratextual verse, however, provide no further clue as to the date of the Cremona manuscript, since the verse could have been copied from printed texts in order to embellish and legitimize the play.117 The sheer amount of verse may indicate at least that the manuscript was prepared for printing, since editions of plays or other literary works in print were commonly accompanied by sometimes copious examples of paratextual verse, which was intended to consolidate the author’s status, moral aims, and literary excellence—as with Campiglia’s Flori (with, in some editions, 28 poems) and Manfredi’s Semiramis, tragedia (with 47 poems). It is rarer to find this amount of verse in manuscript plays destined for a more select readership. Partenia was in fact slated for print some time before 1593, for Manfredi notes when sending Torelli newly printed copies of his pastoral play (Semiramis boschereccia) and tragedy Semiramis that Torelli had promised him a printed edition, which at that time he had not seen.118 Torelli’s planned revisions to the play around 1591, including her proposed addition of choruses, may have been in preparation for this future printing. However, there is no evidence that Partenia ever was 116. Manfredi, Cento madrigali (1587), 43. Bernardino Baldi’s sonnet appears in his Rime varie, in Versi e Prose di Monsignor Bernardino Baldi da Urbino, Abbate di Guastalla… . (Venice: Appresso Francesco de’ Franceschi Senese, 1590), 350; Curzio Gonzaga’s sonnet [fol. 72v], in a new edition of his Rime (Venice: Al segno del Leone, 1591). 117. Cf. Laura Battiferri’s final unprinted anthology of Rime (Kirkham, 23n34). Six of the later paratextual poems in the Cremona manuscript do not appear in the Rome, Biblioteca Angelica manuscript of Partenia (here appendix A, poems 9, 11–15). 118. Muzio Manfredi, Cento lettere (1594), 13 (Letter to Barbara Torelli Benedetti, July 2, 1593); quoted in Affò, Memorie, 4:294–95, 97. Sincere thanks to Franco Tomasi for providing a copy of this extremely rare work of Manfredi’s.

Introduction 49 printed—as is the case with many of the plays composed within the Innominati Academy. No further literary exchange between Manfredi and Torelli is documented after 1594, but Manfredi’s second pastoral play, Il contrasto amoroso [The Amorous Dispute] (printed 1602), intriguingly features nymphs named “Talia” (Barbara Torelli) and “Flori” (Maddalena Campiglia), who appear on stage together (Act 2, scenes 4–5) to praise one another’s plays, building to a general celebration of women’s worth and the acknowledgement that Manfredi, in his nobility, recognized this.119 The Influence of Torelli’s Work Manfredi’s evocation of Torelli and Campiglia in dialogue raises questions about Partenia’s significance within a tradition of femaleauthored drama. As noted, there are certainly clear similarities between Torelli’s Partenia and Campiglia’s Flori, in their emphasis on tragic and spiritual (Christian) themes and in their pro-feminist views on men, marriage, and friendship. Furthermore, Torelli’s and Campiglia’s plays and paratexts suggest that they occupied a cultural context populated by many of the same figures (Isabella Pallavicino Lupi, Curzio Gonzaga, Angelo Ingegneri, Muzio Manfredi, Prospero Cattaneo). One might tentatively speculate that Torelli, as the earlier documented of the two, was the first to compose a pastoral drama, having been encouraged by a context that was favorable to female dramatic performance and literary composition. She may have served as the legitimizing female role model that inspired Campiglia to take the secular pastoral drama in a more radically female-oriented direction and to have it printed. Manfredi also claims that Partenia stimulated a Piedmontese noblewoman, Margherita Asinari Valperga, to begin

119. Manfredi writes in a letter to Maddalena Campiglia that she appears as one of twelve nymphs in his Pastorale alongside Lady Barbara Torelli, “sotto nome di Talia. E di due scene, che fanno insieme, io mandai già copia a V. S. e parimente non mi rispose” (under the name Talia. And I have already sent a copy to your ladyship of two scenes in which the nymphs appear together and similarly you did not reply), Cento lettere, 75 (letter to Maddalena Campiglia). Manfredi claims to have finished his Contrasto amoroso by 1591 (LB, Letter to Duchess of Mantua, Eleonora de’ Medici Gonzaga, October 7, 1591, no. 280, 229).

50 Introduction writing a pastoral play, probably around the late 1580s, though no evidence of this play survives.120 Whatever influence Partenia enjoyed, however, was destined to be short-lived—more so even than that of Campiglia’s Flori and Andreini’s Mirtilla. Undoubtedly this fleeting fame was a direct result of its exclusively manuscript status and of the changing attitudes toward women’s cultural engagement that took hold in the mid-seventeenth century. Furthermore, unlike Campiglia’s Flori, Partenia did not attract the written praise of a literato like Torquato Tasso. (Battista Guarini’s 1593 letter of condolence to Torelli unfortunately makes no reference to Partenia.121) While Francesco Agostino Della Chiesa claimed in his Theatro delle donne letterate [Theater of Women of Letters] (1620) that Torelli’s Partenia was still circulating and praised for its style and structure, the play seems to have become almost unknown soon after. In Cristoforo Bronzini’s dialogue Della dignità e nobiltà delle donne [On the Dignity and Nobility of Women] (1624), Torelli is celebrated only as a poet.122 The memory of Partenia seems to have been preserved chiefly because of its prominent mention in Angelo Ingegneri’s important treatise on drama (1598), which secured for it a mention in Giovanni Felice Astolfi’s miscellany Scelta Curiosa et ricca officina [A Curious Selection and Rich Workshop] (1602) and a minor place in the great encyclopedic literary histories of the eighteenth century written by Tiraboschi, Quadrio, and Crescimbeni (though the latter two confused the author with Barbara Torelli Strozzi).123 Luisa Bergalli 120. Manfredi, Cento lettere, 76 (to Margherita Asinari Valperga, July 15, 1593); LB, no. 276 (also to Asinari, September 24, 1591), 217–18. On Partenia as a precursor for Campiglia’s Flori, see Cox, “Prodigious Muse,” 96. 121. For Tasso’s letter praising Campiglia’s Flori (1589), see Cox and Sampson, eds., Flori, 32, 34. For Guarini’s letter, see above note 45. 122. Della Chiesa, Theatro delle donne letterate, 94. Cristoforo Bronzini, Della dignità e nobiltà delle donne, Day 4, 118. On these writers, see Cox, “Prodigious Muse,” 2, 22–23, 29–30. 123. Giovanni Felice Astolfi, Scelta Curiosa et ricca officina di varie antiche, & moderne istorie divisa in tre libri… (Venice: Appresso gli heredi di Marchiò Sessa, 1602), 112 (short entry in the section on “Letterate donne” [female literati] and their works, which closely follows Contarini’s entry (see note 111) but also mentions Torelli’s interdisciplinarity). Girolamo Tiraboschi, Storia della letteratura italiana (Modena: Società Tipografica, 1794) (rev. ed.), vii/3 (1791), 1195 (Torelli does not appear alongside other female writers of pastoral drama); Francesco Saverio Quadrio, Della storia e ragione d’ogni poesia (Milan: Francesco Agnelli,

Introduction 51 referred to Torelli’s celebrated play in the remarkable anthology of women’s verse she compiled in 1726, and printed Torelli’s sonnet for Manfredi’s tragedy Semiramis for the first time since 1593.124 Thereafter, Torelli was to join the serried ranks of literary women alluded to in the catalogues of female virtuose drafted by, for example, Pietro Leopoldo Ferri, Jolanda Blasi, and Maria Bandini Buti.125 The fullest treatment of Barbara Torelli and her writings to date is still to be found in Padre Ireneo Affò’s eighteenth-century bio-bibliographical study of Parmense culture, and in Pompeo Litta’s multi­volume series of genealogies, Celebri famiglie italiane illustrate [Celebrated Italian Families, illustrated] (1819–82), neither of which make direct reference to Partenia. (Nor is the play mentioned in Ranuccio Pico’s seventeenth-century description of Parmense notables.126) Angelo Pezzana’s continuation of Affò’s work at the start of the nineteenth century provided very little additional material on Torelli, as was also the case with other local encyclopedias, for example, the one by Giovanni Battista Jannelli (1877) and, recently, the ones by Anna Ceruti Burgio (1998) and Roberto Lasagni (1999).127 All lack specific reference to Partenia or consider it to be lost, as do Marzia 1744), iii/2, Book 3/7, ch 4:406 (the Index confuses her with Barbara Torelli Strozzi); G. M. Crescimbeni, Dell’Istoria della volgar poesia, vol. 4, pt. 2: 88 (Crescimbeni also confuses her with Torelli Strozzi and thinks she may have come from the Mantuan Torelli line). See on this, Affò, 4:296–7. 124. Luisa Bergalli, Componimenti poetici delle più illustri rimatrici d’ogni secolo, 2:80, 278 (reference to Partenia in Index). Three poems by Torelli (for Manfredi and Filippi dalla Briga) are listed in Tommaso Vallauri, Storia della poesia in Piemonte, 2 vols. (Turin: Chirio e Mina, 1841), 1:338. 125. Pietro Leopoldo Ferri, Biblioteca femminile italiana (Padova: Crescini, 1842), 372 (refers to Torelli’s sonnet for Manfredi’s Semiramis in Bergalli); Jolanda Blasi, Le scrittrici italiane dalle origini al 1800 (Florence: “Nemi,” 1930), 113 (refers to Torelli’s Partenia and her sonnet for Semiramis); Maria Bandini Buti, ed., Poetesse e scrittrici, vol. 2, Enciclopedia biografica e bibliografica “Italiana,” 6th ser. (Rome: Bernardo Carlo Tosi, 1942), 2:305–06. 126. Ireneo Affò, Memorie, 4: 292–97; Pompeo Litta, Famiglie celebri, “Torelli di Ferrara,” table 8 (entry on Barbara Torelli, which lists her printed verse), see also tables 7–10. Ranuccio Pico, Aggiunte, 113 (in entry on Guido Torelli, 109–114). 127. Angelo Pezzana, Memorie, 6/2:624; Giovanni Battista Jannelli, Dizionario biografico dei parmigiani illustri (Genova: Tip. di G. Schenone, 1877), 447–8 (esp. 447); Anna Ceruti Burgio, Donne di Parma (Parma: PPS Editrice, 1998), 2:123; Roberto Lasagni, Dizionario biografico dei parmigiani (entry on “Torelli, Barbara Calidonia” not available online).

52 Introduction Pieri (1983) and Marina Calore (1985).128 Therefore, apart from a brief article published by Giuseppe Zonta in 1906, which offers a rather decontextualized summary of the play and lacks a significant critical evaluation, Torelli’s masterpiece has remained virtually unknown or unexplored for nearly four centuries.129 The new millennium, however, has brought with it a revival of interest in her play. Partenia has been studied in relation to contemporary female-authored writings (Virginia Cox 2000, 2008, 2011) and specifically in relation to Maddalena Campiglia’s Flori (Cox and Sampson 2004), both in terms of the context of its production and performance in court and academy (Lisa Sampson 2004) and with reference to theoretical experimentation with pastoral drama (Laura Riccò 2004; Sampson 2006, 2010). In her unpublished Ph.D. thesis, Barbara Burgess-Van Aken (2007) presents a first critical transcription of the Cremona manuscript and translation of Partenia. We hope that this newly revised critical edition of Barbara Torelli’s masterpiece, available in print for the first time together with a collection of the author’s surviving poetic works (all with new facing English translations), will stimulate further scholarly investigation into this significant figure and broaden our understanding of women’s literary activities across Italy and of their role in the development of theater.

128. Pieri, Scena boschereccia, 170; Calore, “Muzio Manfredi,” 37 n20. 129. Giuseppe Zonta, “La Partenia di Barbara Torelli-Benedetti,” Rassegna bibliografica della letteratura italiana 14 (1906): 206–10.

Note on the Edition of Partenia Although Barbara Torelli’s Partenia was recopied for circulation in various courtly centers, including Mantua, Guastalla, and Turin, and mooted for print publication, today only two undated copies of the play are known to exist. These copies are held in the Biblioteca Statale, Cremona (MS AA.1.33, catalogued as seventeenth-century and hereinafter referred to as (C)) and in the Biblioteca Angelica, Rome (MS 1690, hereinafter referred to as (A)).1 Both manuscripts are unsigned and undated, appear in more than one hand, and besides the paratextual verse lack a prologue or other prefatory material. They pose to modern readers a further series of questions regarding their provenance, the process of their preparation, and their intended purpose. The present edition can touch only briefly upon such questions, which present interesting material for further study. The current edition of Torelli’s Partenia is based on the textually more complex and longer of the two manuscripts, namely, the Cremona manuscript (C), which presents an extremely rare document, for this period, of how a play was revised apparently first by the author and then by her literary mentor, Muzio Manfredi.2 As such it provides intriguingly early testimony to female agency in the production of a dramatic manuscript. (C) also includes six paratextual verse 1. Zonta is the first to refer to the Cremona manuscript. For the manuscript copy held in the Biblioteca Angelica, Rome, hitherto unknown in literary studies, see Giuseppe Mazzatinti, ed., Inventari dei manoscritti delle biblioteche d’Italia, vol. 22, ed. E. Celani (Florence: Olschki, 1915), 125–26; and recently the entry by C. Casetti Brach and D. Scialanga in Da Palazzo Massimo all’Angelica: Manoscritti e libri a stampa di un’ antica famiglia romana, ed. Nicoletta Muratore (Rome: Fratelli Palombi, 1997), 44n43, 100. The manuscript was first entered into the database Manus Online as this edition was being completed, on http://manus.iccu.sbn.it (accessed July 26, 2011). No manuscript copies of Partenia appear in Paul Oskar Kristeller’s Iter Italicum, 6 vols. (1963–92), which is available as a digitized database on http://www. itergateway.org/resources. No further copies have been found in the Biblioteca Nazionale, Turin; Biblioteca Maldottiana, Guastalla; Biblioteca Teresiana, Mantua; Biblioteca Palatina and Archivio di Stato, Parma; and Archivio di Stato, Reggio Emilia. However, copies may still exist elsewhere, including in private family or religious archives. 2. See Lisa Sampson, “ ‘Non lasciar così facilmente publicar le cose mie’: Manuscript Secular Drama in Sixteenth-century Italy,” Italian Studies 66, no. 2 (2011): 161–76.

53

54 Note on the Edition of Partenia compositions following the play that are not found in the Angelica manuscript (A). Nonetheless, we have compared and drawn upon (A) to clarify points of doubt in (C), for example, where blots or alterations obscure the text. We have also used (A) to help decipher the attribution of hands, particularly since the text of (A) corresponds very closely to the second phase of revision of (C), which contains those emendations in the hand attributed to Torelli, but not the successive emendations attributed to Manfredi. The complex status of the manuscript has necessitated that we make various editorial choices regarding which version of the text to privilege and the extent to which the many alterations are indicated, especially where the given hand cannot be identified securely. We have opted to present the version of the play that corresponds as fully as possible to what we consider to be Torelli’s authorized text, and have incorporated her corrections; further nonauthorial interventions appear in footnotes. The current edition does not provide a full philological study of the text collating all the variants between (C) and (A) manuscripts, as this would necessitate a dense critical apparatus inappropriate for the Other Voice in Early Modern Europe series. Such a study, however, would otherwise be valuable. Before we provide further details on the criteria we used for the transcription, it will be helpful to provide a physical description of the two manuscripts, which has not been undertaken to date, and some indication of their provenance. The Biblioteca Angelica Partenia manuscript came to the Roman library in 1884, following a short period of ownership first by the antique dealers Giacomini and Ciampolini and then by the Neapolitan bookseller, Cioffi, as one of only twenty-two manuscripts remaining from the prized private collection of the wealthy Cardinal Camillo Carlo Massimo (1620–77).3 How (A) came into the cardinal’s possession is still unknown. The only clue the 3. On Cardinal Massimo’s library of 1818 volumes, of which 211 are manuscripts, see: R. Marzocchi, “Facere bibliothecam in domo”: La biblioteca del cardinal Carlo Camillo II Massimo (1620–1677) (Verona: Della Scala, 2005), esp. ch. 4 “La Libraria del Cardinale,” 92; N. Muratore, “La Biblioteca,” in Muratore, ed., Da Palazzo Massimo, 29–46. Muratore notes (40, 45) that the Massimo inventory of 1677 records 169 manuscripts, especially works on religious, classical, and Roman subjects. Massimo was, however, more famed for his art collections. See also C. Terribile’s entry on Massimo in DBI 72 (2009): 1–2; and Tommaso di Carpegna Falconieri, “I Massimo,” in Muratore, Da Palazzo Massimo, 7–28 (esp. 15–19).

Note on the Edition of Partenia 55 manuscript offers is an owner’s signature by an otherwise unknown Giovanni Giuseppe Pucceli (“Jo. Gioseppe Pucceli Romano”), who was apparently born or based in Rome.4 It is quite conceivable that a copy of Torelli’s manuscript play found its way to Rome during her lifetime, given its—and her own—close association with the Farnese, whose power was principally identified with this city. The fact that Cardinal Massimo’s library, initially housed in his private palace at the Four Fountains (le Quattro Fontane), was opened to scholars raises interesting questions about Partenia’s continued appreciation in elite circles in and beyond the seventeenth century. The Angelica manuscript is a well-preserved fair copy, carefully transcribed in brown ink by an unidentified, elegant hand on good-quality, yellowish paper measuring 197 x 152 mm. It displays a few, mostly minor, corrections (some of which appear in a different hand), and is transcribed with an irregular number of lines per page (normally 17–18), and features a running title and a catchword at the end of each of the gatherings or loose half-sheets.5 (A) consists of flyleaves I–IV (the first of which is glued to the binding) and 2 unnumbered folios; 96 numbered folios (of which the play occupies fols. 4r–96v), followed by flyleaves V–VII. The manuscript retains its original vellum binding, and has an additional flyleaf fixed at the fold onto folio +1r that bears the Massimo crest on an uncut, lighter-weight folio. The manuscript’s lack of dedication suggests that it did not serve as a presentation copy, which is also supported by its plain binding, in contrast to the lavish green leather replete with gold borders and rampant lion motifs that was used for many of the other volumes in Massimo’s library.6

4. Fol. 4v; see also fol. 3v (a blank page with Rome [sic] inscribed at the top, presumably an erroneously placed or practice signature). 5. For corrections in two further hands, see, for example, fols. 52r, 66r, possibly 24v; catchwords are found on fols. 10v, 22v, 34v, 46v, 58v, 70v, 81v, 82v, 92v, 93v, 95v. 6. Muratore, Da Palazzo Massimo, 42n39, 41, fig. 8. Warm thanks to Elisabetta Sciarra from the Biblioteca Angelica for her help in analyzing the make-up of the manuscript, which differs slightly from previous descriptions of it (see n1). Notably, following the first folio with verse by Ferrante and Curzio Gonzaga on an affixed half-sheet (fol. +1r), there is a folio stub with some traces of writing (fol. +1b).

56 Note on the Edition of Partenia The Cremona manuscript by comparison is in a less polished state, and its early provenance is more obscure. It came to the Biblioteca Statale of Cremona in 1885 from the Deposito Libreria Civica, where it had formed part of the Museo Ala-Ponzone Collection (no. 618). This collection included the archives from private libraries of noble Cremonese families that were left to the city. A printed note pasted onto the front folio, the recto, of the Cremona Partenia manuscript indicates that it was acquired specifically from the Araldi-Erizzo family, which gathered materials from diverse sources, including the private library of eighteenth-century local collectors and possibly the libraries of former convents and religious orders.7 On a second note located above the first is handwritten “Dei libri del Co: Xp’oro” (from the books of Count [Cristophoro]), which might refer to Count Cristoforo Torelli, a descendent of Barbara’s branch of the family, whose archive and library in Reggio Emilia contained many previously dispersed family documents. He specifically provided information on Barbara Torelli to the local historian Father Ireneo Affò in 1779, although not a copy of the play.8 Unfortunately, it has been impossible to trace the passage of (C) to the Biblioteca Statale of Cremona. The Cremona manuscript is well preserved and generally legible. In octavo format with a frontispiece measuring 208 x 151 mm, it was rebound in vellum in the later twentieth century, at which point an additional flyleaf was added to the front and the back. The greater wear on the front page of the manuscript may indicate that it had been used for some time without a cover, a common practice at the time, at least for manuscripts delivered to printers.9 The original manuscript consists of 86 bound folios, arranged in ten gatherings of four bifoliums and a final gathering of three blank bifoliums. The paper, used 7. For this information and other details on the manuscript, the volume editors are deeply grateful to Dr. Raffaella Barbierato, Director of Manuscripts, and Dr. Stefano Campagnolo, Director of the Biblioteca Statale, Cremona, who were extremely generous in their assistance. 8. Affò, Memorie, 4:292; Marzio Dall’Acqua, “Le carte Torelli,” 217–21. See the letter from P. Ireneo Affò to Cristoforo Torelli, Parma, May 18, 1779 (from a collection of six letters asking for information on the Torelli family), ASRE, Famiglie (private), Malaspina-Torello, Io Versamento, b. 13. 9. Victoria Kirkham, “Laura Battiferri degli Ammanati’s First Book of Poetry: A Renaissance Holograph Comes out of Hiding,” Rinascimento 2, no. 36 (1996): 351–91 (esp. 380).

Note on the Edition of Partenia 57 throughout the manuscript, bears a watermark of an anchor with a six-pointed star above and the letter “B” below. As this paper was common in Northern Italy in the sixteenth century, it tells us very little about the manuscript’s manufacture.10 Only the pages of the play-text are numbered consecutively, on the top right-hand corner. Preceding these pages are: a cover page, which bears “Dominus domino meo” on the recto, in addition to wording added later (the verso is blank); a title page [fol. +1r], with a blank verso; and title and cast list ([fol. +2r], fig. 3) with the verso featuring the first of five gratulatory sonnets, which each take up a page (fols. +2v–+4v). Directly after the play (fols. 6r–75r of the manuscript, numbered 1–70) are ten paratextual verse compositions (fols. 75v–80r, unnumbered). The last gathering of six blank pages, lined on both sides, following the final paratextual verse (81r–86v) may indicate that further encomiastic verse was expected.11 The preservation of this particular copy of the manuscript suggests its perceived value, perhaps as a family inheritance. However, one might also speculate that the manuscript survived because it had originally been prepared for submission to a press—perhaps that of Cristoforo Draconi of Cremona, who printed the first known edition of Tasso’s Aminta in 1580—and when for some reason this did not occur, it was kept in case of future use.12 While none are conclusive, some small clues within the manuscript support this hypothesis: an editor’s slash through the initial word of each of the first two gratulatory poems after the play text directing a print compiler to start a new page, as might the small flourish at the end of the play and of some of the verse; the circling of an omitted scene break (Act 3, scene 3) and a hash mark in the margin indicating that additional line spacing is required (fol. 41r); various instances in the accompanying verse of capitalization used to highlight encomiastic tributes; and the occasional small letters (A, b, d) written above the words to indicate changes to word 10. Charles-Moïse Briquet, Les filigranes: Dictionnaire historique des marques du papier dès leur apparition vers 1282 jusqu’en 1600. 4 vols. (Amsterdam: Paper Publications Society, 1968), 1: 44, Fig. 561 (first documented Verona 1578). 11. Compare Laura Battiferri and Her Literary Circle: An Anthology; A Bilingual Edition, ed. and transl. Victoria Kirkham (Chicago: University of Chicago Press), 46. 12. See Rita Barbisotti, “La Stampa a Cremona nell’Età Spagnola,” in Storia di Cremona, 7 vols, vol. 4: L’Età degli Asburgo di Spagna (1535–1707) ([Bergamo]: Bolis, 2006), 488–99.

58 Note on the Edition of Partenia order (see fols. 7r, 20v, 47v).13 Yet, the manuscript lacks any compositors’ markings, an author or editor’s preface, and a dedicatory letter, all paratexts that were key to positioning a work socially and were used in interesting ways in the printed pastoral plays of Isabella Andreini, Valeria Miani, and especially Maddalena Campiglia. Such paratexts were normally added to printed editions at a final stage, since they could appear in a first, unnumbered gathering. The same expectation that the preliminary materials would be finalized upon publication may explain the discrepancies in the title of the play in (C) (i.e., first favola boschereccia, then favola pastoral).14 Nonetheless, the Cremona manuscript’s inclusion of so many gratulatory verses was less common for a manuscript edition of a play than for printed editions. This particular manuscript also raises tantalizing questions regarding its compilation. The regularity of the unidentified hand that copies the text of the play with a consistent 21 ruled lines per page, in addition to a running head identifying the act number and catchwords at the bottom of each page, reveal that it was prepared carefully but not by an expert calligrapher.15 While the manuscript might initially have been intended for presentation or as a gift copy, the numerous revisions to the play-text make it clear that, in its present form, it did not serve this purpose, though it may have been prepared 13. Flourishes appear after the cast list (fol. +2r), Baldi’s first verse (+3r), at the end of the play (70r), and after the verse by Mondella, Pio di Savoia, and Beffa Negrini (fols. 71r, 74r, 75r, respectively). See Paolo Trovato, “Per un censimento dei manoscritti di tipografia in volgare,” in Il libro di poesia dal copista al tipografo, ed. Marco Santagata and Amedeo Quondam (Modena: Panini, 1989); Alda Spotti, “Il manoscritto nell’officina tipografica,” in Il libro italiano del Cinquecento (Rome: Istituto Poligrafico e Zecca dello Stato, 1989). 14. (A) lacks a title page, and is called “Favola Pastorale” at the start of the play, fol. 4r (as in (C)). On dedications, see Richardson, Manuscript Culture, 200–225. Compare the absence of title and prefatory letter in Laura Battiferri’s printer’s manuscript of her Primo Libro delle Opere Toscane, in Kirkham, “Laura Battiferri,” 358–39; and on the undated dedicatory letter and blank pages for four of the end-of-act choruses in Eugenio Visdomini’s manuscript pastoral play L’Erminia, see Lucia Denarosi, “Introduzione” to “L’Erminia di Eugenio Visdomini,” Schifanoia 24/25 (2003): 30. On the paratexts to plays by Campiglia and Andreini, see Sampson, “Dramatic Text/Paratext,” 108–9; Cox and Sampson, eds., “Introduction” to Flori, 1–35. On paratexts to Valeria Miani’s printed plays, see Rees, “Female-authored drama,” 47–48. 15. Richardson, Manuscript Culture, 72. Warm thanks go to Stefano Campagnolo, Neil Harris, and Brian Richardson for their helpful comments on this and related questions regarding the Cremona Partenia manuscript.

Note on the Edition of Partenia 59 as the basis for one, if not for a printed edition. These emendations appear in distinct hands other than that of the original scribe (O): one seems identifiable as that of Muzio Manfredi (M) and the other could well be that of Barbara Torelli herself (T). The original scribe’s hand (figs. 3–4) is clearly identifiable as humanistic italic, although it lacks a precise and professional regularity in the slope, ascending and descending strokes, and joins between the letter and word formations. A female scribe, perhaps from among Torelli’s ladies-in-waiting, could have mastered this level of penmanship, following a common practice. There are some similarities between (O) and Torelli’s cursive hand as identified in her single autographed letter (see fig. 1),16 despite the more formal presentation of the Cremona manuscript. However, it seems more probable that Torelli was not the original scribe of (C), given various differences in the hands, distinguished with the assistance of Giliola Barbero and Brian Richardson. In particular, as compared to Torelli’s hand, the original scribe of (C) presents: a with a shorter tail when in the final position; e with an oblique cross-shaft rather than a single curved stroke; the two stems of the n with a generally even length (rather than with the second being shorter); p with a little serif at the bottom of the descender; and g with a consistently rounded bowl. Furthermore, (O) lacks the elongated form of the ss found in Torelli’s letter. By contrast, Manfredi’s hand is recognizable for presenting gl and st with sweeping connectors, g with looping bowls, and d and h, for the most part, with a stem that loops backward to join next letter (see fig. 2). A fourth, unidentified, hand transcribes the gratulatory poem by Camillo Malaspina that immediately precedes the text of the play. This is a professional hand with a more extreme slope, curved terminals, and, most significantly, more elaborate swash capitals. The hand is found nowhere else in the manuscript. The title of Malaspina’s poem—along with at least four of the paratextual poems—appears to be in Torelli’s hand; other verse is more problematic to identify. The density of the brown inks used for all the hands in 16. The editors gratefully acknowledge the paleographic analysis undertaken by Giliola Barbero, Antonia D’Antonio at the Biblioteca Palatina in Parma, and Stefano Campagnolo, Director of the Biblioteca Statale di Cremona. See also Barbara Burgess-Van Aken, Ph.D. diss. Case Western Reserve University: 2007, 75–78; Harold Love, Scribal Publication in Seventeenth-century England (Oxford: Clarendon Press, 1993), particularly chapter 3, 92–137.

60 Note on the Edition of Partenia the manuscript (except for a few lines that appear to have been erased and written over in a heavy black ink by the original hand) suggest that the emendations occurred not long after the original was copied. The emendations themselves range from smaller alterations— such as additions or crossings out of letters in misspelled or corrected words (e.g., the addition of h in “agghiacciato,” c in “acqua,” i in “gioiendo”), letters or words written over blots or blurred words for clarity, and altered grammatical forms (“aspettarei” > “aspetterei” (3.4.613))—to more significant changes such as the choice of a lexis or syntax that alters meaning (padrone > marito (4.1.21)) or versification, including changing word order and crossing out or adding words, whole phrases, or lines of text. Changes most often involve writing over or above the lines of text, and, where necessary, striking through or adding insert marks. However, more extensive alterations to the text may appear in the margins to the side, or below and above the text (see fig. 4). Our aim in presenting the first transcription of Barbara Torelli Benedetti’s Partenia has been to make the play-text as accessible as possible and to avoid encumbering it unduly with notes. The Italian text therefore follows as far as possible the original scribe’s version of the Cremona manuscript, with the interventions attributed to Torelli, which include several full-line additions or changes (see fig. 4). These interventions are set off by double-angled brackets, and the original text is provided in notes. Manfredi’s revisions to (C) appear to have been made shortly after Torelli’s, since Manfredi’s hand corrects the insertion presumed by Torelli (3.1.49, “Ch’ ” clarified). We have indicated his emendations, where identifiable, in notes. These emendations outnumber Torelli’s by over four times and typically involve the correction of spelling, grammar, style, or versification, suggesting his role in polishing and editing the play perhaps prior to publication, either in print or in manuscript. We have indicated alterations to lexis throughout, either in the accompanying notes or in the text. Other minor alterations are incorporated without comment. These include additions of a single letter or strike-through line, or other obvious corrections to spelling, grammar, or transcription errors that cannot be identified with absolute certainty (e.g., “di me più vive lieto vive,” 5.4.489). Broadly speaking, the main text here transcribed (that is,

Note on the Edition of Partenia 61 without Manfredi’s revisions) is surprisingly close to that of (A), down to the same variants (“Eligi” rather than “Elisi,” 1.4.532), omissions (“che” is added in both manuscripts, 1.3.415), cancellations (“figlia mia cara,” 4.2.201), and errors (“questi braccia,” 5.2.254). Some emendations to (A) in another hand suggest that corrections were made using the same copy that (O) and Torelli used to correct (C) (e.g., “e guidimi” (3.1.310), “e” added to (A), fol. 55v). Our page numbering follows that of (C), with unnumbered folios indicated by square brackets. The pages preceding the play-text are given in sequence as “[+1r]–[+4v]”; after the play, the numbers continue in sequence, and are presented in square brackets (i.e., [70v– 75r]). The paratextual verse appears, albeit partially repositioned, in its entirety in appendix A, allowing the modern reader to access more conveniently this important accompaniment to and reflection on the play.

Criteria for Transcription We have aimed in our transcription of the manuscript of Torelli’s Partenia to intervene only minimally, and have maintained as much as possible the original layout of the text and the original spelling. However, given the frequent inconsistencies in the manuscript—which are typical for this period—we have made the following adjustments for the sake of the modern reader: •

• •

•

Accents, punctuation, and capitalization have been altered where necessary to reflect modern usage and to enhance the readability of the dramatic text (e.g., quotation marks have been added for direct speech). Abbreviations have been written out (e.g., non for no’). The pseudo-etymological h, where used, has been removed, for example, in herbe, havrei, humore; where necessary, the appropriate adjustment after a c has been made (e.g. c’hora → ch’ora). Word boundaries have been adjusted, where necessary, either to separate words that appear written as one (e.g., infonti → in fonti) or to link words following standard usage (e.g., al quanto → alquanto); this applies also to preposition + definite article

62 Note on the Edition of Partenia

•

•

•

clusters (e.g. ne i, de i, per che → nei, dei, perché). No changes have been made where raddoppiamento sintattico would be required. Editorial interventions, including the correction of orthographic inconsistencies, have been marked with “[ ].” These include in rare cases, the addition of hypothesized text where the manuscript is illegible, for example, due to ink blots. Double-angled brackets are used in the text to set off Torelli’s revisions to the original scribe’s version (indicated in a note): . +> [text inserted, e.g., from bottom margin]: indicates longer insertions, adopting the symbol most commonly used in (C). The majority of these are in the hand identified as that of Barbara Torelli.

Women writers are normally referred to using their natal surname, rather than their married surname (e.g., Barbara Torelli rather than Barbara Torelli Benedetti). Where used, the married surname usually observes the standard masculine singular or plural form, in place of the feminized form (e.g. Isabella Pallavicino Lupi rather than Pallavicina Lupi).

Note on the Edition of Partenia 63

Note on the Translation In translating Torelli’s Partenia into English the editors have aimed to render a verse play-text belonging to a genre now less familiar to modern readers in a way that conveys the often complex diction and syntax of the period without sacrificing readability. Our decision to translate Torelli’s text in prose, and to thereby sacrifice the play’s metrical effects—especially where seven-syllable lines (settenari) are combined with the standard eleven-syllable meter (i.e., hendecasyllable) to indicate heightened emotional density or lyricism—is motivated by prose’s greater flexibility in reproducing on the facing page the content, imagery, and style of the original. Occasionally, we have made some very slight changes for the sake of clarity and elegance, such as including a name instead of a pronoun that might be ambiguous in English, adding an explanatory word or phrase in a description, or adding variety to avoid repetition that is less effective in prose than in verse. More often, our changes to the sentence structure are necessitated by the rather tortuous syntax and unsystematic punctuation. Where the text itself is ambiguous or obscure, at times as a function of the state of the manuscript, we have provided the most plausible translation and explained our choice in a note. Like the original text, this translation is not intended for performance. Unless otherwise indicated, translations of elements besides the play-text, including the paratextual verse and Torelli’s texts, are by Lisa Sampson.

Illustrations

Figure 1. Autograph letter of Barbara Torelli, December 13, 1603, Archivio di Stato, Parma, Archivio di Famiglie—Torelli, b. 19, fasc. XI. 1. Reproduced with permission from the Italian Ministero dei Beni e le Attività Culturali. 65

66 Illustrations

Figure 2. Excerpt of letter from Muzio Manfredi to Don Ferrante II Gonzaga. Mantua, March 18, 1587, Archivio di Stato Parma, Epistolario Scelto, “Manfredi, Muzio,” b. 11, fasc. 3. Reproduced with permission from the Italian Ministero dei Beni e le Attività Culturali.

Illustrations 67

Figure 3. Partenia, favola boschereccia della Signora Barbara Torelli Benedetti (Cremona, Biblioteca Statale, Deposito Libreria Civica, ms. AA.1.33), fol. +2r. Reproduced with permission from the Biblioteca Statale, Cremona (20/25.05.2009).

68 Illustrations

Figure 4. Partenia, favola boschereccia della Signora Barbara Torelli Benedetti (Cremona, Biblioteca Statale, Deposito Libreria Civica, ms. AA.1.33), fol. 4v. Reproduced with permission from the Biblioteca Statale, Cremona (20/25.05.2009).

PARTENIA, A PASTORAL PLAY

[+1ri]

PARTENIA FAVOLA BOSCHERECCIA DELLA SIGNORA BARBARA TORELLI BENEDETTI.

Parma / [+1v: blank] /[+2r] Favola Pastoral nominata Partenia La scena si finge Collec[c]hio loco di villa De l’Eccellentissimo Signor Duca di Parma Persone interlocutori Leucippo Pastore Tirsi Pastore Partenia Ninfa Talia Ninfa Lice Pastore Coridone

Pastore

Cromi Satiro Ergasto

Pastor vecchio, Padre di Partenia

Elpino Pastor vecchio Clori

Ninfa / [+2v-+4v ii]

70

PARTENIA

[+1r]

A PASTORAL PLAY BY LADY BARBARA TORELLI BENEDETTI.

Parma / [+1v: blank] /[+2r] A Pastoral Play1 entitled Partenia The action is set in Collecchio, the country estate of his Highness, the most excellent Duke of Parma2



Cast Leucippo Shepherd Tirsi Shepherd Partenia Nymph Talia Nymph Lice Shepherd Coridone

Shepherd

Cromi Satyr Ergasto

Old shepherd, father of Partenia

Elpino Old shepherd Clori

Old shepherd / [+2v-+4v 3]

71

72 Partenia, favola pastorale [1r] ATTO PRIMO SCENA PRIMA

Leucippo e Tirsi pastori Leucippo Sono più giorni, o Tirsi amato, o caro, Ch’io ti veggio languire; e molte volte Chieder te n’ho voluto la cagione. Ma mentre ch’era per aprir le labra Mi s’agghiacciava ne le vene il sangue, 5 E nel cor palpitante mi nasceva Gran tema che il desio mio di sapere L’aspro tuo duol, non fosse, oimèiii cagione Di raddoppiar non cheiv scemar l’affanno. Alfin, pensato ho questa notte, mentre 10 Che le fere, e gli augei, gli uomini, e ’l gregge Davan riposo ai travagliati membri,v Io no, che in me riposo né quiete non avrò fin che te vedrò qual veggio, Pensato ho, dico, che il tacer mio forse 15 vi Esser potrebbe a te di danno. Ottinio, Sì saggio, e cui sì debbo, usa di dire Che meglio è molto nei gravosi affanni Un’amico leal, che nei contenti; / [1v] Perché in narrargli a lui scemano in parte, 20 Talora in tutto. Io che pur vero amico Ti sono, e ben’ il sai Tirsi Il so, Leucippo, Che prove n’ho vedute a mille a mille: E mentre avrò nel cor spirto vitale, Non fian già mai da me poste in oblio. 25

Partenia, A Pastoral Play 73 [1 r ] ACT ONE SCENE ONE

Leucippo4 and Tirsi, shepherds Leucippo For several days now, my dear and beloved Tirsi, I have seen you languishing, and many times I have wanted to ask you why this was so. But as I was about to open my lips the blood froze in my veins and my heart raced in great fear that my desire to know the nature of your bitter sorrow might cause your pain to be doubled rather than relieved. Finally, I came to a decision last night—for while wild beasts, birds, men, and herds rested their exhausted limbs, I could not, for I can have no repose or calm as long as I see you in this state. As I say, I decided that my silence might perhaps cause you harm. Ottinio,5 who is so wise and to whom I owe so much, often says that a loyal friend is far more important in troubled times than in happy ones, / [1v] for in relating one’s troubles to a friend they may be dispelled in part and sometimes even completely. I am surely a true friend to you, as well you know …

Tirsi

I know, Leucippo, I have seen countless proofs of this and while vital spirit remains in my heart they shall never be forgotten.

74 Partenia, favola pastorale Leucippo Te ne ringratio. Or dico, che gran torto A l’amicitia fai Tirsi. Non sai, Che le severe leggi d’amicitia Comandan che tra noi commune sia Ricchezza e povertà, gioia e dolore? 30 vii Ah per Dio Pan non ti sottrarre a quelle, A cui sì ti fu lieveviii il sottoporti, Dehix fa che ’l duol che mostran gli occhi mesti Esserti in cor sì com’è tuo sia mio. Non è curiosità ch’a x ciò mi move, 35 Ma sol vera pietà ch’ho di te stesso,xi Ch’essendo solo albergo il petto tuo D’un così acerbo e smisurato duolo, Non potrà comportarlo in sè gran tempo. / [2r] Ma s’al mio ne dài parte, assai men grave 40 Ad ambo sarà il peso a duo partito: Né tu cadrai sotto sì dura soma, Come certo faresti. Oimè, che fora Di me se questo t’avenisse mai, Tirsi mio caro? Ond’avrei mai conforto? 45 Tirsi

Leucippo mio, non per far torto a quella, Che di sì stretto nodo ambiduo strinse, L’interna pena mia celata tengo: Ma la cagion di questo è che mi pare Temeraria la lingua a palesare Il folle mio pensier, l’ardente voglia. Che facendol[a] a te palese forse Per sciocco mi terrai, ch’io pensi a cosa Lontana sì dal poco merto mio. E tenendomi tal scemar potrebbe Parte in te de l’amor sì onesto e caro Che tu mi porti, e rallentarsi il nodo Contra cui né la Morte aver de’ forza.

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Partenia, A Pastoral Play 75 Leucippo Thank you. Now, I must tell you that you are greatly wronging our friendship, Tirsi. Do you not realize that the strict laws of friendship order that wealth and poverty, joy and sorrow must all be shared? O in the name of the god Pan do not break those laws that you so readily swore to observe.6 Share the pain that fills your heart, as your sad eyes reveal, and make it mine as much as yours. I am not prompted to ask this out of curiosity, but by the true compassion that I have for you. For such bitter and boundless grief as you have harbored in your breast alone cannot long be borne. / [2r] If you unburden part of that grief on me, the shared weight will burden each of us far less, and you will avoid the certain fate of falling under so heavy a load. Alas, what would become of me if this should ever happen, my dear Tirsi? What solace would I ever find?

Tirsi

Dear Leucippo, in keeping my private sorrow concealed I do not mean to break the ties of friendship that have bound us together so closely. The reason that I hesitate to speak is, rather, that I fear to show the madness of my thoughts and my ardent desires. If I reveal my mind to you, perhaps you will take me for a fool for aspiring to something so far beyond my reach, undeserving as I am. And this perception of me could diminish in part your most sincere and dear love for me, and loosen the bond that even Death is not supposed to undo.

76 Partenia, favola pastorale Leucippo Non dubitar, mio Tirsi, che mai possa Breve stilla mancar di quell’abisso / [2v] D’amor che sempre ti portai, per forte Che sia alcuno accidente, mentre io ­­­­vivo. Dunque a me sia cortese, a te pietoso.

60

Tirsi Poiché m’astringi a dirti il dolor mio Te lo dirò, ma piaccia al ciel non sia 65 A te di danno, a me cagion di morte. Tu saprai dunque che ne la passata Stagion che ’l sol fa rifiorir le piaggie, E le piante riveste, e i prati adorna Di mille vaghi variati fiori, 70 Una mattina mi levai per tempo Sì che fuggiva giàxii la bell’Aurora, Con la fronte di rose e co’ i crin d’oro, La qual più de l’usato risplendente Mi si mostrava, e parea dirmi: “Or’ ora 75 Cosa di me vedrai più bella in terra.” Io pien di meraviglia e xiii Il passo movo verso lei, mirando L’almo splendore, ogni pensier deposto Che traviar dal bel sentier mi possa 80 Che’l suo bel raggio mi venía segnando. / [3r] E giunsi presso al chiaro fonte, ornato Dal grande Ottinio tuo d’erbe e di fiori Le sponde e ’l letto; il cui limpido umore D’invidia empie il cristallo, e di dolcezza 85 Ogniunxiv col mormorio grato e soave Fatto dal corso suo tra l’erbe e i sassi, Tal che può ristorar ciascuno afflitto. Ma, lasso, il mio ristor, la mia dolcezza Fu il perder l’alma, et in un tempo il core. 90

Partenia, A Pastoral Play 77 Leucippo Fear not, dear Tirsi; while I live, the bottomless ocean of my constant love for you could never decrease by even the smallest drop, / [2v] no matter what disaster should befall. So be kind to me and merciful to yourself.

Tirsi

As you compel me to tell you the cause of my woes I will do so, but I pray to heaven it neither imperils you nor brings about my death.7 Let me tell you then that recently, in the spring when the sun again revives the countryside, restores the plants, and adorns the meadows with countless varieties of lovely flowers. I arose one morning so early that the beautiful Aurora with her rosy brow and golden tresses was just departing.8 She appeared to me more resplendent than usual and seemed to say: “Soon you will see on earth something more beautiful than I am.” Full of wonder and joy, I walked toward the goddess, admiring her great splendor, casting aside all thoughts that could lead me astray from the beautiful path that her brilliant beauty was lighting for me.9 / [3r] I came then to the clear stream whose banks and beds have been adorned with plants and flowers by the great Ottinio, who is so dear to you. The waters of the stream are clearer than crystal, and its pleasing and gently murmuring course between the grasses and pebbles fills everyone with such sweetness that it can revive any afflicted soul. But, alas, for me the only sweetness and respite it brought was the loss of my soul and with it my heart.

78 Partenia, favola pastorale Leucippo A quel ch’io sento, Amor t’ha vinto, o Tirsi. Tirsi Amor, due stelle, anzi duo vivi soli, Oro, perle, coralli, neve, rose, Alabastro, onestate, e un’armonia Celeste; tutti questi uniti insieme M’han vinto, e l’alma, lasso, e ’l cor rapito. Leucippo Ben me n’avidi. Ma ti prego, dimmi Non è questa la fonte a cui dolce ombra Fan le pallide olive e i verdi lauri, E le basse mortellexv e gli altri pini Che piantò pur di propria mano Ottinio?

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Tirsi È quella. / [3v] Leucippo Ma qual pianta in questi luoghi Che domestica sia non pose Ottinio? Non eran questi colli de le fere Albergo, ov’ora si raccoglie il vino? 105 Non eran queste valli, or sì fiorite, Ortiche tutte, e sterpi, e spini, e sassi? O d’ogni lode degno e d’ogni onore Ottinio mio! Il ciel ti sia mai sempre Benigno, i Dei cortesi, il fato amico, 110 Eterno il tempo, e da l’un polo a l’altro Altera, il nome tuo porti la Fama. Stia lontana da te nemica mano, A destra et a sinistra abbi gli amici, Cresca ognior più la greggia tua, né mai 115 Rapace lupo te ne privi o scemi; Né per te mai fonte si secchi o fiume,

Partenia, A Pastoral Play 79 Leucippo From what you say, Love has conquered you, Tirsi. Tirsi

Love, two stars, or rather two living suns, gold, pearls, corals, snow, roses, alabaster, virtue, and celestial harmony10—all of these together have conquered me and, alas, have ravished both my soul and my heart.

Leucippo Indeed I had noticed this. But pray tell me, is this not the stream that is shaded by pale olive trees, green laurels, myrtle bushes, and other pines that were planted by Ottinio’s own hand?

Tirsi

It is. / [3v]

Leucippo Ah, is there any cultivated plant in these parts that was not placed by Ottinio?11 Were these hills, where grapes are now harvested for wine, not once the home of wild beasts? These valleys that are now strewn with flowers, were they not once full of nettles, scrub, thorns, and rocks? O my Ottinio! You deserve every praise and honor. May heaven ever smile upon you, may the gods be gracious; let fate be friendly and time eternal, and may lofty Fame carry your name from one end of the earth to the other. Let no enemy hand touch you, and let friends be found at each side. May your herd grow larger every day, and may no rapacious wolf ever plunder it even in part. Let fountains and rivers never run dry for you

80 Partenia, favola pastorale L’erba a te nasca ognior più dolce e fresca, Primavera per te mai sempre sia. Tirsi Oh, che dirai? Leucippo Non a bastanza dico; 120 Che ’l merto suo tutt’altri merti avanza. / [4r] Tirsi

Ben hai ragion. Ma per mio danno Ottinio Il selvaggio paese ha fatto ameno, E sarà forse aspra cagione ancora De la mia morte.

Leucippo Ciò non voglia il cielo. 125 Ma dimmi omai il tuo sì grave duolo. Tirsi Mentre ch’io giungo a quel dritto sentiero, Che calando vien giù presso a la fonte, Di che abbiam detto, io sento un’armonia Che celeste parea. Mi fermo a udire, 130 Et odo accenti gravi, alti, e soavi In lode de la Dea d’Amor nemica. Il passo movo tardo e lento: e gli occhi Drizzo tra l’una e l’altra fronde, e miro, Io miro, ahi lasso, per mio danno, e veggio, 135 Potrollo dire? Leggiadretta ninfa, Di bellezze terrene ornata in guisa Che fuor mostrava l’immortali interne, Qual di cristallo avien da cui traluce Lor vaghezza natía, s’in se rinchiude 140 v Vermiglie rose e candidi ligustri. / [4 ] Il bel crin d’or, le guance e ’l petto avea

Partenia, A Pastoral Play 81

Tirsi

and let the pasture grow ever sweeter and fresher. May it evermore be spring for you.

Oh, what more can you say?

Leucippo I cannot say enough, for his merits surpass all others. / [4r]

Tirsi

Yes, you are right. But Ottinio’s cultivation of this wild landscape has been harmful to me and may yet be the bitter cause of my death.

Leucippo Heaven forbid that! But tell me now of your deep sorrow.

Tirsi

While approaching that straight path that descends to the side of the stream of which we have spoken, I heard a harmony that seemed heavenly.12 I stopped to listen and heard sweet singing ranging low and high in praise of the goddess who is the enemy of Love.13 My step lingered slowly,14 and I directed my gaze between the branches and beheld—ah alas, to my peril I beheld, how can I say it?—a lovely young nymph adorned with earthly beauty of a kind that outwardly revealed her inner, immortal beauty, just as when a crystal vase holding scarlet roses and white privets allows the natural beauty within to shine through.15 / [4v] Her lovely golden tresses, her cheeks,

82 Partenia, favola pastorale

Ornati di giacinti e d’amaranti E di viole, anzi le guance e ’l petto E ’l crine ornavan lor, quale onestate 145 In donna orna beltate exvi leggiadria. Finita l’armonia del dolce canto, Ch’anzi divina che mortal parea, Le belle mani sue, candide e molli, Ne l’aqua de la fonte dolce e chiara 150 Refrigerio da lei prendendo stese: Et or con l’una et or con l’altra al viso Divin communicava il fresco umore. E tante al core e più fiamme cocenti M’aventò, lasso, quante >xvii 155 Aventò nel bel viso e nel bel seno. Poi ch’a sua voglia rinfrescata s’ebbe, +> [Tra l’erbe e i fiori a la dolce ombra assisa Dei verdi lauri e dei superbi pini,] Riprese il sonno, et a me diede morte. 160 Morto in quel punto mi restai, Leucippo, Morto restai, perché ogni senso mio Morto restò. Perdèr la vista gli occhi: Non udivan l’orecchie il dolce canto / [5r] Dei vaghi augei né ’l mormorar de l’auro 165 xviii Alfin par mi riscossi et a fatica Mi levò, e mirò ove la bella ninfa Pria vidi adormentarsi; ahi vidi ch’ella La fonte sola avea lasciata; e l’erba, 170 E i fior, che già con le sue belle membra Avea calcati, a me pareano dire: “Non è quest’onta a noi, ma gloria nostra.” Da indi in quà non fonte, o fiume, o rivo, Non erbe, o fiori, o piante, o fronde, o frutti, 175 Non greggia, o latte, o lana, o giochi, o feste Non ninfe, non pastor può consolarmi, Leucippo mio, fuor che colei che ’l core Co’ suoi begli occhi mi trafisse e l’alma.

Partenia, A Pastoral Play 83

and breast were adorned with hyacinths, amaranths, and violets, or rather her cheeks and breast and hair adorned the flowers, just as virtue adorns a woman’s beauty and grace.16 Once the harmony of her sweet song had ended—which seemed divine rather than mortal—she refreshed herself at the stream by placing her beautiful and soft, white hands in the clear, sweet water.17 First with one hand, then with the other, she brought the cool water to her divine face. But, alas, for every drop of water splashed upon her beautiful face and breast one scorching flame at least was kindled in my heart. After she had fully refreshed herself, she sat down among the grasses and flowers in the sweet shade of the green laurels and lofty pines, and went to sleep, bringing me death. At that point I was left dead, Leucippo; quite dead, with all my senses deadened.18 My eyes lost their sight; my ears did not hear the sweet song / [5r] of the lovely birds or the murmur of the breeze; and so I fell to the ground and remained lying there for a good length of time.19 Finally, I must have recovered. I struggled to my feet and looked over toward the place where I had earlier seen the beautiful nymph fall asleep. Alas, I saw that she had departed from the stream; and the plants and flowers that she had previously pressed with her lovely limbs seemed to say to me, “This is no shame for us, it is our glory.”20 Since then, no brook, river, or bank, no grasses, flowers, plants, fronds, or fruits, no herd, milk, wool, games, or festivals, no nymphs or shepherds can console me, dear Leucippo—nothing can, except for the nymph who pierced my heart and soul with her beautiful eyes.

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Né questo ancor con la sua vista spera, 180 Perché m’infiamma e più m’accende sempre;xix E mi convien quasi farfalla al lume Suo gir’intorno, e come lei, la vita Finirò al foco di sì chiara luce. E forse oggi sarà quel giorno a punto / [5v] 185 Che darò fine agli aspri miei martiri, Mentre la mirerò, lasso, nel tempio, Ove di gire ambo inviati siamo.

Leucippo Se la vedremo, Tirsi mio, nel tempio, Deve esser ninfa dei paesi nostri; E oggi a noi tocca celebrar la festa. Tirsi Del bel paese nostro ella è nativa, Et ella certo di beltate avanza, E d’onestate, tutte l’altre ninfe.

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Leucippo

(Oimè, che sento? Ahi non sia questa, o Dei, 195 La mia bella Partenia.) Or dimmi Tirsi, Se punto m’ami, il nome de la ninfa.

Tirsi

Te lo dirò, ma saria bene il meglio A tenerlo celato, perché temo Che non s’allenti in te l’ardente amore 200 Che tu mi porti, conoscendo quanto Folle il desio lascio salire in alto. Conosci tu la bella e saggia figlia Di Er…? Deh, fa che ’l suo bel nome io taccia Che troppo mi terrai, Leucippo, ardito. 205

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Nor do I hope for consolation even from the sight of her, because this inflames me and increases my passion ever more. I am compelled to circle her like a moth flying around a flame, and my life will likewise end in the fire of her brilliant light.21 Indeed, perhaps today will be the very day / [5v] I end my bitter torments while, alas, I gaze at her at the temple, for which we are both bound.

Leucippo My dear Tirsi, if we are to see her at the temple, she must be a nymph from around here; for we celebrate the festival today.22

Tirsi

She does hail from our beautiful country and certainly outshines all the other nymphs in beauty and virtue.

Leucippo [Aside]23 Alas, what do I hear? O gods, let this nymph not be my lovely Partenia. [To Tirsi] Now if you love me at all, Tirsi, tell me the name of your nymph.

Tirsi

I will tell you, but it would be much ­better to keep it concealed, because I fear that the great love you bear me will be diminished once you know how I let my mad desire aspire so high. Do you know the beautiful and wise daughter of Er … Ah, I should not speak her lovely name, or you will think me too bold, Leucippo.

86 Partenia, favola pastorale Leucippo (Oimè, quell’ “Er” vuol dir Ergasto.) Tirsi, / [6r] Non mi mancar di quanto m’hai promesso. Tirsi

Partenia bella la figlia d’Ergasto È quella onde ’l mio core aghiaccia et arde.

Leucippo (Misero me!) O Dei! o cielo! o Tirsi! 210 Dunque men t’amerò se in nobil fiamma Il tuo petto arde? Anzi se pur potessi, Accrescerei l’amor ch’ora ti porto: Ma più non può salir, ch’al sommo è giunto. Ama pur Tirsi mio; ch’è ben ragione 215 Ch’ami il tuo bel pensier cosa sì bella, Ma non languir ti prego. Tirsi Oimè Leucippo, Non converrà languir, ma incenerire A sì cocente foco, a sì gran fiamma. Troppo ella è bella, e troppo è gran nemica D’Amor, ma non t’accorgi del fuggire De l’ore? A tempo non saremo al tempio. Leucippo Vanne pur Tirsi tu, ch’io verrò poi; Ch’a l’ovil mi convien tornar per dire Al mio Montano alcune cose ch’io Mi son dimenticate per la fretta / [6v] Che mi facesti tu. Tirsi Ma non verrai tu poi?

Io vado, a dio.xx

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Partenia, A Pastoral Play 87 Leucippo [Aside] Alas, that “Er …” is for “Ergasto.” [To Tirsi] Tirsi, / [6r] do not withhold what you have promised me. Tirsi

The lovely Partenia, daughter of Ergasto, is the one for whom my heart freezes and burns.

Leucippo [Aside] Woe is me! [To Tirsi] O gods! O heaven! O Tirsi! Why would I love you less if your breast burns with a noble flame? Indeed, if possible, I would increase the love that I now bear for you, but it can scale no higher than the summit it has reached. So love then, my dear Tirsi, for there is good reason for your noble thoughts being drawn to such beauty. Just do not languish, I beg you.

Tirsi

Alas, Leucippo, I cannot languish, rather I will turn to ashes in the scorching fire of such a great flame. Her beauty is too dazzling, and she is too great an enemy of Love. But have you seen how time is advancing? We will not arrive on time at the temple.

Leucippo Make haste now, Tirsi. I will come later, for I must return to the fold to instruct Montano24 about a few things that I forgot when you made me rush. / [6v]

Tirsi

I am going, farewell. But won’t you come, later?

88 Partenia, favola pastorale Leucippo Io verrò certo. Tirsi Deh vien ti prego, che vedrai con meco Quella bella d’Amor nemica e mia.

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SCENA SECONDA

Leucippo solo Leucippo O misero Leucippo, a che sei giunto? Dunque languisce per Partenia Tirsi? Il mio Tirsi, il mio amico ama la mia Bella Partenia? a cui desio che ’l cielo D’un nodo sempiterno mi congiunga? 235 Oimè mio Tirsi. Oimè, perché il tuo core Non mi scopristi pria che ’l mio di fiamma Ardesse sì ch’è pur converso in cenere? Converrà dunq[u]e, o mio destin perverso, Ch’io lasci, oimè, per te Partenia, Tirsi? 240 xxi O che per Tirsi, o iniqua sorte mia, Lasci Partenia mia? anzi la vita? Che sol la speme ch’abbia axxii esser mia / [7r] Mi mantien vivo; or come lei perduta Avrò, pur converrà ch’io mora al fine. 245 Ma non è meglio ch’io mi mora prima Che sì gran torto a l’amicitia faccia? Che dirà Tirsi mio, che dirà quando Udrà Partenia che sii fatta mia, Avendomi scoperto il suo gran foco 250 Con tanta confidenza e tanto amore? Non gli do giusta cagionxxiii che non sia Mai più mio amico? E sarò forse ancora

Partenia, A Pastoral Play 89 Leucippo I will certainly come. Tirsi

Do come, I beg you, for you will see with me that lovely enemy of Love, and of me.

SCENE TWO

Leucippo alone Leucippo O wretched Leucippo, what has befallen you? So Tirsi languishes for Partenia? Tirsi, my friend, loves the same beautiful Partenia that I wish to be bound to by heaven’s everlasting knot? Alas, my dear Tirsi! Alas, why did you not disclose the feelings in your heart before mine burnt with such a fierce flame that it too was turned to ashes? O will my perverse fate be to leave Tirsi for love of Partenia? Or, cruel fate, will you make me leave Partenia for Tirsi, and so depart from life itself? For only the hope that she will be mine / [7r] keeps me alive. If I lose her, I will surely die before long. But would it not be better that I die than so violate our friendship? What will dear Tirsi say—what will he say if he hears that Partenia has been promised to me, now that he has disclosed to me his great passion with such trust and affection? Surely I give him due cause never again to be my friend?

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Cagion, misero me, ch’ei se ne mora? Io son ben certo, se Partenia vole 255 Congiungersi a pastor, io sarò quello Da lei, dal padre, e dagli amici eletto. Non perché men sia di me Tirsi bello, Anzi è più bello e più gentil: né meno Perché più accorto e saggio io sia di lui; 260 Ma sol perché più di ricchezze abondo, Mercè del gran pastor di questi colli. E se ciò aviene, e che non mora Tirsi, Quell’am[i]citia sì sincera e cara / [7v] Ov’andrà, lasso me? S’avrò bisogno, 265 Com’ho sovente pur d’alcun consiglio, A cui ricorrerò se lui mi tolgo?xxiv Chi più me gli darà sì cari e saggi Come solevi tu, mio vero amico? Ch’uomo non è, per saggio, il cui consiglio 270 Pareggi quel d’un singolar amico. O perché non son’io mio Tirsi nato Del padre tuo, o tu nato del mio; Che pur ti rimarrei fratel, se bene Si spezzasse quel nodo onde legati 275 Ambi duo siamo, e ch’a ragion devria Essere indissolubile ed eterno? Ma s’io son quel che la ragione atterra, Non hai ragion di non amarmi mai? Non hai giusta ragion d’odiarmi a morte? 280 Né così mi sarai fratel né amico. Ah, non fia vero, più tosto vo’ morire, Più tosto vo’ restar senza Partenia Che senza te mio caro e dolce Tirsi. O foss’io stato muto allora quando / [8r] 285 Del tuo duol la cagion ti domandai. Dunque non t’amerò più bella ninfa? Deh vadaxxv Tirsi e s’altro amico ho al mondo. O poco saggio son ben’io s’io penso Star forte incontra omnipotente Arciero. 290

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Wretched me, shall I even be the cause of his death, too? I am quite certain that if Partenia wishes to marry a shepherd, I will be the one chosen by her, by her father, and by friends. Not because Tirsi is less handsome than I am, for indeed he is more handsome and noble-minded. Neither am I wiser nor more astute than he is. I simply abound in greater wealth, thanks to the great shepherd of these hills.25 And if this happens and Tirsi does not die, alas what will become of our sincere friendship that is now so strong? / [7v] If I drive him away, who will I turn to if I need some advice, as I often do? Who will counsel me as caringly and wisely as you have always done, my true friend? For truly no man, however wise, can give advice as good as that of a devoted friend. O my Tirsi, why was I not born of your father, or you of mine? Then at least I would remain a brother to you, even if that knot that binds us together were broken, though it should rightly be indissoluble and eternal.26 But if I am the one who acts unreasonably, you are surely right not to love me any longer. Surely you then have just cause to hate me with a vengeance? In this case you will be neither a brother nor a friend to me. Ah, let it not be so; I would rather die. I would rather be without Partenia than without you my dear, sweet Tirsi. Oh, if only I had stayed silent when / [8r] I asked you the cause of your sorrow! Shall I love you no more then, beautiful nymph? Be gone then, Tirsi, and with him the only true friend I have in this world. Oh, I must be an utter fool if I think I can remain strong against that omnipotent Archer.27

92 Partenia, favola pastorale

Or non fu vincitor del gran Pitone Febo, et accordator di quella dolce Cetera di Parnaso, e pur Amore Per Dafne e per Leucotoe soggiogollo? Oltra che la sua luce nascondendo, 295 In forma pastoral guardò gli armenti D’Ameto. Per amor Giove, il gran Giove, Che ’l ciel move e governa ignobil forma Non vestì egli or d’aquila or di cigno? Non gi’ muggendo con le corna in fronte 300 Fat[t]osi toro? Il fiero Dio de l’arme, La cui fierezza ogni superbia atterra, Non temprò gli aspri e duri affetti suoi Sotto il giogo amoroso, umile amante? E non mostrò d’Amor la propria Madre 305 Esser da lui ferita, Adon piangendo? / [8v] Et io solo mi credo esser quell’uno, Che da lui fugga non acceso e sciolto?xxvi D’Alcmena il figlio valoroso e forte, Deposte le saette, e del Leone 310 La minacciosa pelle, non sostenne Gli smeraldi a le dita, e non diè legge Ai rozi crin con quella man che dianzi Avea con dura mazza ucciso Anteo, E fere, e mostri, e ’l can trifauce vinto? 315 Non trasse ancor da la conochia il lino? E gli omeri suoi forti, onde sostenne Per Atlante le stelle, al fin premute Non fur da Iole, e d’or fregiati e d’ostro? Il gran pastor Ideo, che non fece egli 320 Per lei che fu de la sua Patria incendio? Ei non mirando ai ricevuti onori, Nel proprio albergo del amico pose L’amicitia e gli onor tutti in non cale: E pur saggio era; che se ciò non era, 325 Non l’avrebbono le Dee giudice eletto Di lor beltà. Perdònami, o mio Tirsi, / [9r]

Partenia, A Pastoral Play 93

For though Phoebus was victorious over the great Python and played the sweet lyre of Parnassus, did Love not still enslave him with passion for Daphne and Leucothoe?28 Out of love, he also hid his divine light to tend the flocks of Admetus in the guise of a shepherd.29 Even Jove—the great Jove himself, who moves the heavens and governs base forms— transformed himself into an eagle, and then a swan, for the sake of love, and also took the form of a bellowing bull with horned brow.30 Didn’t the fierce god of arms, whose arrogance exceeds all others’, temper his stern and hardened feelings under the yoke of Love as a humble lover?31 And wasn’t Cupid’s own mother wounded by love when she mourned Adonis?32 / [8v] How then can I believe that I alone can escape him without being inflamed or even touched by passion? Didn’t even the strong and valiant son of Alcmena for love set aside his arrows and fearful lion’s pelt, and adorn his fingers with emeralds, and tame his unkempt hair with that same hand that had fiercely clubbed Antaeus to death and vanquished beasts, monsters, and the three-mouthed dog? Did he not also draw the flax from the distaff? And weren’t those powerful shoulders, with which he held up the stars for Atlas, finally decorated with gold and ceremonial purple by Iole?33 And remember what the great shepherd of Ida did for the girl who caused his homeland to be set aflame.34 Without considering the honors he had received in his friend’s home, he ignored the obligations of friendship and respect. Yet he was not a fool, for if he had been, the goddesses would not havemade him the judge of their beauty. O Tirsi, forgive me, / [9r]

94 Partenia, favola pastorale

Ch’io son sforzato di seguir Partenia: E di ragion tu dèi, s’amor le porti, Voler ch’ella sia mia; che colui ch’ama 330 Ama il ben de l’amata: et è suo bene L’aver pria me di te, send’io più ricco, E de la povertà sì grav’è il peso. Né però ti sarò men vero amico, E’l mio aver sarà tuo non men che mio. 335 A questo mi risolvo; ma tardato Forse avrò sì ch’a tempo de la festa Io non sarò. Convien ch’affretti il passo.

SCENA TERZA

Partenia e Talia ninfe Partenia Io me ne vo, Talia, lieta e festosa Al sacro tempio di colei ch’adoro, 340 E spero che i miei preghi e i voti miei Accetti avrà, se ben indegni e frali,xxvii Poscia che con gli effetti o col pensiero Non mai mia castità macchiai d’un neo. E credi a me, Talia, ch’al mondo è sola 345 Virginitate pretiosa e cara. / [9v] Né creder devi perché alcun ti dica Che colei non è donna che non sia Da terren’ uomo amata e riverita: Anzi quell’altra è Donna, e quella ch’ama 350 Uomo terren non può chiamarsi Donna. Che Donna è quella sol che ’l cielo adora,xxviii E le terrene cose have in dispregio. O quai favori il ciel non porge a queste, E quai non son perigli intorno a quelle. 355 Non ti vo’ già narrare i danni tutti

Partenia, A Pastoral Play 95

for I am forced to pursue Partenia. And if you love her, reason demands that you must want her to be mine, because any man who loves desires the best for his beloved. And it is far better for her to be married to me than to you, since I am richer, and poverty is so heavy a burden. Still, I will be no less true a friend to you and what I have will be as much mine as yours. In this I am resolved. But perhaps I have now tarried so long that I will come too late for the festival. I must make haste.

SCENE THREE

Partenia35 and Talia,36 nymphs Partenia Talia, I am setting forth in joyful and festive spirits for the sacred temple of the goddess whom I adore. I hope that she will have accepted my prayers and vows; for though these may be unworthy and feeble, I have never stained my chastity in any way, by deed or thought. And believe me, Talia, only virginity is precious and prized in this world. / [9v] You should not trust anyone who tells you that you are only truly a lady if you are loved and revered by a mortal man.37 On the contrary, a true lady is one who loves virginity, and one who loves a mortal man is no lady. A true lady only adores heaven and holds worldly things in contempt. Ah, what favors heaven hands to such women, and what dangers lurk around them! I need hardly mention to you all the harm

96 Partenia, favola pastorale

Ch’avenuti a lor son, che di me sei Più scaltra per scientia e per etate; Ma ben ti voglio dir ch’un’uom mortale In un medesmo punto ama e disama; 360 Anzi pur odia sempre, e mai non ama; Che se ’l corpo ama, odia l’onor e l’alma; E spesso avien che dopo breve spatio Insieme con l’onor, con l’alma ha in odio Il corpo sì che può mirarlo a pena, 365 Se ben sen va d’ogni bellezzaxxix adorno. Né credo mai che se ne gisse altera / [10r] Donna regale o bassa ninfa ch’uomo L’avesse molto e lungamente amata. Però ti prego, quei begli occhi, quelli, 370 Che già ti fece Giove alti a mirare Il ciel, ch’opra è d’omnipotente mano, Non voler’ abbassar per mirar cosa Terrena e vil, solo a brutezze pronta.

Talia Giovanaxxx sei Partenia, e non hai anco 375 Gustati quei piacer che ’l mondo porge. Non dei saper che ’l sommo Giove in terra Gustar li volse, et amar donne frali; E tu non voi ch’io, sua fattura essendo, Gradisca e brami quei diletti istessi 380 Ch’ei sentir volse? O sciocca che tu sei. E qual Nume del ciel d’amor non arse? Né creder posso che la Dea trif[or]me Non ami anch’ella, se benxxxi saggia il celaxxxii: Ma celar non può già d’Endimione. 385 E credo ch’ella ancor sarà cagione Che tu amerai per giuramento espresso. Or non ti vo’ già dir quei gran contenti, / [10v] Che si gustano amato, riamando, Che i detti miei polve sariano al vento: 390

Partenia, A Pastoral Play 97

Talia

that has come to them, because your greater age and experience make you more worldly wise than I am.38 But I do want to say that a mortal man both loves and hates at the same time. In fact, he always hates and never loves. For if he loves a woman’s body he hates her honor and the good of her soul. Indeed, it is often the case that after a short time he not only rejects her honor and soul, but also hates her body so much that he can scarcely bring himself to look at it, even if it is adorned with the greatest beauty. I do not believe that a / [10r] queen or lowly nymph ever boasted that she was loved by a man with true passion and enduringly. For this reason, I beseech you, use those lovely eyes that Jove gave you to gaze upward to heaven, the creation of an omnipotent hand. Do not choose to lower them to contemplate what is earthly and vile, capable only of base deeds.

You are young, Partenia; you have not yet savored those pleasures that the world offers. You must have forgotten that even great Jove himself wanted to taste these delights on earth and to love frail women. And yet you do not want me, his creature, to enjoy and yearn for the same delights that he desired? Oh, what a fool you are! What heavenly deity has not burned with love? I do not believe that even the triform goddess of the moon herself does not love, although she wisely hides this. Indeed, she cannot conceal her past love for Endymion.39 And I believe that this goddess will yet cause you to swear by oath that you love. I have no wish to tell you of the joy / [10v] lovers derive when their love is returned, since my words will be lost like sand in the wind.

98 Partenia, favola pastorale

Ma spero ancora, e credo, e tengo certo Di vederti languir d’amore accesa.

Partenia T[u] credi forse, o mia Talia, ch’io viva Senz’amar cosa alcuna? Amo onestate, Che questa al mondo amar si deve sola. 395 Talia

Et io, Coridon’ amo, e pria l’inferno Sarà di Giove, e ’l ciel di Pluto il seggio, Ch’io mai lasci d’amarlo.

Partenia Orsù Talia, L’ora è già tarda, io men vo’ gir al tempio A dio. Talia A dio. Partenia Io non vò far dimora Più con costei, ch’al suo miglior contrasta. O gran sciocchezza dei terreni amanti! Talia

400

Sciocca era ben costei se si pensava Ch’io dovessi lasciar per le sue ciancie Il mio bel Coridon, l’amante mio. 405 Troppo è a me caro, io troppo a lui son cara. / [11r] Ei me troppo ama, et io troppo amo lui. Il nodo è stretto troppo e dolce, ond’ambo Ne strinse insieme Amore: e ben felice, E mille volte e mille ancor beata 410 Mi posso dir, né so se stato il cielo Abbia ch’aggiunghixxxiii un sì felice stato.

Partenia, A Pastoral Play 99

But I still hope, and firmly believe that one day I will see you languishing, consumed by love.

Partenia My dear Talia, do you really believe that I do not love anything? I love virtue, for that is all one must love in this world.

Talia

And I love Coridone, and only when Jove holds sway over hell and Pluto rules heaven shall I stop loving him.40

Partenia Enough, Talia. It is already late and I want to go to the temple. Farewell.

Talia Farewell. Partenia [Aside] I shall dally no longer with her, for she acts against her best interests. Oh, how foolish earthly lovers are!

Talia [Aside] She must be a fool if she thought that I would leave my lover, my handsome Coridone, because of her idle chatter. He is too dear to me, and I am too dear to him; / [11r] his love for me is too strong, just as mine is for him. The knot with which Love has bound us together is too tight and sweet. I consider myself truly happy and blessed many times over—I wonder if a similar state of happiness can even be found in the heavenly realm.

100 Partenia, favola pastorale

Ma chi è questo pastorxxxiv sì mesto in vista, Ch’ha di funerea fronde il crine ornato? Mi vo’ scostar ch’ei parla, e udir chexxxv dice.

415

SCENA QUARTA

Lice pastore e Talia ninfa [Lice]

Com’esser puote, oimè, celesti Numi, Ch’io ardisca porre in questa valle il piede. Crudel mia sorte, e ch’io non cada morto S’ella mi cagionò dolor eterno? Lasso, conosco or ben che di dolore 420 Altri non può morir, poi ch’io non moro. Com’esser può che non mi scoppi il core Mirando il loco ove le belle membra La santa alma lasciò, pallide e morte, che me lasciaro eternamente in doglia? / [11v] 425

Talia

O come di costui gli occhi di pianto, E ’l petto abonda di sospiri ardenti. Ma intender lo vo’ meglio. S’importuna non sono, Fammi, pastor’, il tuo dolor palese, Certo d’averne aita Qual ninfa possa dar pietosa, onesta.

Lice

Rimedio alcun non chiude Il cerchio della luna Che possa al mio dolore Porger minima aita; Però, deh non voler ninfa, ti prego,

430

435

Partenia, A Pastoral Play 101

But who is that shepherd over there who looks so sad, with his hair wreathed in funereal fronds? He is speaking, so I will move aside and listen to what he says.41

SCENE FOUR

Lice,42 a shepherd, Talia, a nymph Lice

Alas, heavenly gods, how do I have the temerity to set foot in this valley? Why do I not drop dead when my cruel fate has caused me e­ ternal woe? Alas, now I truly understand that one cannot die of sorrow, for otherwise I would be dead. Why does my heart not burst when I gaze at the place where her sacred soul departed from her lovely body, all pale and dead, leaving me in eternal mourning? / [11v]

Talia [Aside] Oh, how his eyes are flooded with tears, and his breast burns with heavy sighs. I want to learn more about him. [To Lice] O shepherd, if I am not intruding, share with me your grief and be assured that you will gain all the help that a compassionate and virtuous nymph can give.

Lice

Within the moon’s orbit no remedy exists that can offer the least relief for my sorrow.43 So, I pray you, nymph,

102 Partenia, favola pastorale

Intender la cagione Onde ’l cor mi si impetra, Ch’ancor tu ti dorresti Se ’l cor non hai di pietra.

Talia

Deh non sdegnar pastore Ch’io mi dolgaxxxvi con teco: Ch’avrai da me pietà, se non aita.

440

Lice Non creder già ch’io brami 445 r Tacer per far più lieve / [12 ] Il mio gravoso affanno Che questo cor e questo petto affligge; Che bramo anzi ch’ogniora Lunghi sospiri ardenti 450 Mandino al ciel con dolorose strida, Per turbar agli Dei La lor tranquilla pace, Poscia ch’in lor trovai Ogni pietà ver me del tutto spenta; 455 Ma il volerlo celare a te sol’era Per non veder sì gran beltà dogliosa. Talia

Dì, che la doglia mia Farà forse minor la doglia tua: E se ciò fia, lieta sarò nel duolo.

Lice

Non per scemar l’affanno, Che’l cor sì mi tormenta, Ti vo’ narrare il caso, Più d’ogni acerbo caso acerbo e fiero, Cagion d’ogni mio danno: Ma sol perché s’affretti

460

465

Partenia, A Pastoral Play 103

Talia

Lice

Talia

Lice

do not ask why my heart appears so deadened, for the cause would sadden you too, unless your heart is made of stone.

Ah, shepherd, do not forbid me to grieve with you, for then you will at least have compassion if not relief.

Do not think that I choose to be silent in order to lighten / [12r] the great burden of my suffering, which torments my heart and breast. Indeed, I yearn to send up to heaven continuously my deep, ardent sighs and anguished screams to disturb the tranquil peace of the gods, since they have withheld the slightest mercy toward me. I only wanted to conceal the cause from you to avoid marring such great beauty with grief.

Pray speak. Perhaps my grief will diminish yours. And if that comes to pass, I will feel some comfort in my sorrow.

I shall tell you my story—one that is more bitter and cruel than any other tragic tale and the cause of all my woes—not in order to lessen the affliction that so torments my heart, but only to

104 Partenia, favola pastorale

Quanto prima a finir questa mia vita. / [12v] Sappi ninfa gentil, ch’amor m’accese, Fanciullo ancor, de la più bella ninfa Che mai vedesse ovunque gira il sole: E se mi desse il duol ch’ad una ad una Le sue bellezze ti narrassi, certo Diresti sol costei fu bella in terra: Ma non convien ch’ei mi conceda tanto, Basta ch’ella era bella, e bella tanto Che la madre d’Amor non è sì bella. Or piaque al ciel, forse per far vendetta De l’onta ch’ella a lui facea, di fare Che del suo amor questo mio petto ardesse. E tanto ardir mi diè ch’io le scopersi L’interna fiamma mia, e tanto dono Ch’a lei fui grato sopra ogni altro amante. Tu poi pensar quanto contento avea Questo mio cor, ch’or di dolor’ è pieno: E quante gioie in sè rinchiuse avea Il petto, ch’or sì di sospiri abonda: E qual porgea chiarezza il suo bel lume Agli occhi, ch’ora oscuro nembo adombra. / [13r] Che poi ch’ a lei fu notoxxxvii l’amor mio, Non fui mai senza lei ora del giorno. Seco a l’albergo suo mi stava, e seco Uscia, s’usciva, e seco andava a caccia, Seco tendea le reti ai vaghi augelli, E seco ai fonti a rinfreschar mi giva, E seco a l’ombra di faggio o di lauro Sedea, scrivendo in terra o ne le scorze: “Più felice di noi non vedi il sole.” O felice mio stato, Come veloce e presto Ten sei fuggito. Ahi ria fortuna aversa, Come sei pronta ad apportarne il male; Da la felicitate a la miseria Mi portasti in un punto,

470

475

480

485

490

495

500

Partenia, A Pastoral Play 105



hasten as far as possible the end of my life. / [12v] Kind nymph, while I was still a boy, Love made me burn for the most beautiful nymph that was ever seen anywhere on earth. If my grief allowed me respite to enumerate all the aspects of her beauty, you would surely say that on this earth she alone was beautiful. But this is not necessary. It is enough to say that she was fair, so fair that she outshone even the mother of Love.44 Heaven, perhaps to avenge being put to shame by this nymph’s beauty, chose to make my heart burn with love for her. It gave me such courage that I revealed to her my hidden passion, and then granted me the great boon that she chose me above all her other lovers. You can imagine the great happiness I felt in my heart, which now is filled with sorrow; and the great joy within my breast, which now cannot contain its sighs; and how her splendid light gave luster to my eyes, which are now darkened by a dense cloud. / [13r] For after she recognized my love, I was never without her at any hour of the day. I stayed with her in her dwelling or if she went out, and together we would go hunting. I set the nets with her to catch pretty birds, and I accompanied her when she went to refresh herself at the stream. I sat with her in the shade of the beech or the laurel tree, writing on the ground or on the bark: “No one on this earth is happier than we are.”45 O happy times, you have passed all too rapidly. Alas, wicked, adverse fortune, you are only too ready to bring about misfortune; in an instant you took me from happiness to misery in a

106 Partenia, favola pastorale Né puoi per me più variare il modo. Non può più l’alma stanca 505 Regger le membra afflitte, Più tormentate assai Da l’aspra passion, dal fiero duolo, Che le più miser’ alme / [13v] Giù ne l’inferno da le furie ultrici. 510 Lasso, morròmi, e ciò men duro fora Che’l viver d’una vita Più fiera, oimè, di morte. Ma che parlo di vita, e che di morte? S’ora son vivo, or morto, 515 Né so qual più m’affligga, o morte, o vita? Ma s’è cagion de la mia morte Morte, De la morte dorrommi, Ma de la morte, ahi lasso De la mia cara donna, 520 E de la vita, ahi lasso, Che me sostiene in vita. Onde a ragion piangendo Andrò sì la sua morte, Come la vita mia; 525 E bramerò poi sempre a me la morte, Poich’io cagion de la sua morte fui. Tanto più ch’io son certo Che l’alma sua non puote Esser a pien beata / [14r] 530 Senza la mia, che desiosa aspetta Per gir’insieme ai dolci campi Eligi.xxxviii E questa è la cagion ch’io prego mortexxxix Ch’a me pietosa sia, Dove a tutt’altri è cruda. 535 Ahi lasso, che parlar, ninfa gentile, Non posso più, poiché pur giunto sono A dirti la cagion di tanta doglia.

Partenia, A Pastoral Play 107

way that can never be changed. My weary soul can no longer support my afflicted body, which is tormented by fierce passion and bitter grief far more than the most wretched souls / [13v] of Hell are goaded by the avenging Furies.46 Alas, I shall die, and that will be less difficult than living a life more cruel, alas, than death. But why do I speak of life and death, when I hover between these states? Nor do I know what affects me more—death or life? But, alas, if Death is the cause of my death, I will complain about Death, that is, the death of my dear lady and, therewith, alas, the life that keeps me alive. So for good reason I will weep as much for her death as for my life.47 And I will always desire my own death, since I was the cause of hers—especially as I am sure that her soul cannot be fully happy / [14r] while it longingly awaits to roam together with mine in the sweet Elysian Fields.48 And this is the reason I pray to Death to be compassionate to me whereas to all others he is cruel.49 Alas, I cannot go on speaking any longer, gentle nymph, as I have reached the point of telling you the reason for such sorrow.

108 Partenia, favola pastorale Talia

Di pietà mi consumo, Pastor, de la tua sorte. Ma, per Dio, frena alquanto questi singulti tuoi, questo tuo pianto; Che’l lasciarti sì vincer dal dolore Scema la tua prudenza.

Lice

Perduto ho la prudentia et anco i sensi Insieme con colei. Ch’ogni mio ben vivendo Era, et è morta ogni miseria mia.

Talia

O misero pastor taci, ti prego, Che troppo il duol t’accora, Ned io posso soffrir tanta tua pena, / [14v] La qual tantoxl m’attrista Che mi toglie il desio D’udir la mesta istoria. Io mi credea che ’l raccontar gli affanni Altrui scemas[s]e il duolo; Or poi ch’io m’ingannava, Esser non vo’ cagion che in te s’avanzi.

Lice

Qual contento sperar poss’io più mai, Se non che’l duolo il mio tormento accresca Tanto, che Morte al fine Me ne disgombri il core?

Talia

Quanto diversi son gli affetti tuoi Da quel ch’or’ ora mi dicea Partenia, Volendomi mostrar che mai non f[o]sse Omo mortal che fedelmente amasse.

540

545

550

555

560

565

Partenia, A Pastoral Play 109 Talia

Lice

Talia

Lice

Talia

Shepherd, I am consumed with pity for your fate. But, please, for the sake of God, restrain your sobbing and weeping a little; for you appear less prudent when you give way to such grief.

With my beloved I have lost all prudence and also my senses, for she was my every joy in life and in death makes me utterly desolate.

Hush, wretched shepherd, I beg you, for your grief afflicts you too greatly, and I cannot suffer such pain as yours / [14v], which saddens me so much that I no longer wish to hear your woeful story. I always believed that grief is lightened by telling someone else about one’s troubles; now that I realize that I was mistaken, I do not want to be the cause of your increased suffering.

What happiness can I ever hope for again, except that my sorrow and torment increase to the point that my heart is finally purged by Death?

How different your feelings are from what Partenia just told me to prove that no mortal man ever loved faithfully.

110 Partenia, favola pastorale Lice

Partenia figlia al saggio Ergasto? Quella ch’è saggia sì com’è giovanexli e bella?

Talia Quella. Lice Mentre io vivea lieto e contento, Di lei parlando un giorno Ottinio, il saggio, 570 r Ch’io mi ritrovai seco, de la sua / [15 ] Tanta onestà mi disse: “Lice, io veggio Nel suo bel viso alcuni segni, i quali M’assicurano ch’ella al suo dispetto Al fin converrà amare.” Talia Antiniana, 575 Che più santa che saggia si può dire, Nel addurmi costei per vero essempio D’onestà vera, oscuramente, ad uso Dei servi degli Dei, questo mi disse, Ma non saprei già dirti come. Lice Ahi lasso, 580 Felice è ben chi non fu amante mai. Sostien dunque, ti prego Ninfa, ch’io ti racconti Il miserando caso; Che s’io non avrò morte, 585 Almeno avrai tu essempio Di quanto può sperarsi Che qui felicità duri agli amanti. Così vedrai ch’in vano D’esser felice altri è bramoso in vita. / [15v] 590

Partenia, A Pastoral Play 111 Lice

Talia Lice

Do you mean Partenia, the daughter of the wise Ergasto, who is as wise as she is young and beautiful?

The very same.

While I was still blithely happy, I found myself one day conversing with the wise Ottinio, who spoke of her / [15r] great virtue and said: “Lice, I see in her lovely face some signs that assure me that, despite herself, she will finally agree to love.”

Talia Antiniana, whom one could describe as more holy than wise, in pointing her out to me as a true example of honesty, said the same thing to me in her obscure way—typical of the gods’ servants—but I could not tell you how.50

Lice

Ah, alas, how happy are those who never loved. Bear with me then, I beg you nymph, while I recount to you my wretched tale. If I do not die, at least you will learn from my example that earthly lovers should not hope to enjoy enduring bliss. You will see how vain it is to yearn to be happy in life. / [15v]

112 Partenia, favola pastorale Talia Lice

Dì dunque, io ti preparo Dagli occhi amaro pianto, E dolenti sospir da questo petto.

Essend’io un giorno (e ’l primo era di maggio)xlii Gito a cercar ne l’apparir del sole 595 La ninfa mia, di fior le tempie ornato, La ritrovai senza ornamento alcuno, E parea nel bel viso il sol ch’adombri Candida nube. Tema il cor m’assalse, Veggendola sì mesta e sì negletta, 600 Ch’ella non fosse da la fiera oppressa +> [Ch’or gelando or ardendo aspra importuna]xliii Ognixliv rara beltà guasta e consuma. Né creder che perché negletta fosse Men bella fosse, anzi mostrava allora 605 Ch’ella l’arte adornava, e non lei l’arte. Io dopo le accoglienze a me sì care, Le dissi: “Anima mia, come in un giorno Solenne sì, sì te ne vai negletta?” Et ella: “Oimè, ben mio, che questa notte 610 a l’apparir de l’alba un sogno tristo Ogni allegrezza m’ha rivolta in noia. / [16r] Mi ti pare a veder degli occhi privo, Ch’eran conversi in fonti per dolore D’un mio gravoso affano, né mostravi 615 Dolerti de la perdita degli occhi, Ma che non mi vedevi; e minacciavi Di darti morte di tua propria mano. Tra le mie braccia t’accogliea dicendo: ‘Non pensar questo Lice, ch’io ti voglio 620 xlv Vivo se ben senz’occhi, né per questo Men t’amerò, né mi parrai men bello.’ E tu perciò d’ingrata m’accusavi. Ma mentre io era intenta a tue querele,

Partenia, A Pastoral Play 113 Talia

Lice

Tell me then, and my eyes and breast will prepare bitter tears and sorrowful sighs for you.

One day—it was the first of May51—when I had gone in search of my nymph at daybreak, with my temples decorated with flowers, I found her completely unadorned, and her face all blanched, like the sun when it is covered by snow-white clouds. Seeing her so sorrowful and so plainly attired, my heart was overcome with the fear that she was oppressed by the affliction that fiercely consumes and spoils every rare beauty by freezing and burning in turn.52 But do not believe that because she was unadorned she was less beautiful; indeed, it was clear that it was she who adorned art, rather than art ornamenting her.53 After a tender exchange of greetings, I said to her, “My dearest, why are you so unadorned on such a solemn day?” And she replied, “Alas, my dear one, last night at the break of dawn a sad dream turned all my happiness to grief.54 / [16r] I dreamt that you had lost your eyes, since they had turned into fountains in your distress over my great trouble. You appeared not to grieve over the loss of your eyes, but only over not being able to see me, and you threatened to kill yourself by your own hand. I then gathered you into my arms saying, ‘Do not contemplate this, Lice, for I want you to live, even without your eyes. I will love you no less for this, nor will you seem less handsome to me.’ You then accused me of being unfeeling. But while I was listening to your lamentations,

114 Partenia, favola pastorale Pia[c]que agli Dei ch’io mi destassi piena 625 Di spavento, d’orror. Mi levo, e veggio Ne l’aprir la capanna un negro corvo Volarmi intorno, e ciò mi fa sì mesta, Et è cagion che sì mi vedi inculta.” Io mi sforzai coi più potentixlvi modi 630 Di rallegrarla, e le dicea: “Cor mio, Vedi questi occhi miei, che pur son tuoi, Vivaci e sani. Sol la tua mestitia / [16v] Mesti li rende. Or fa che la beltate Mirino lieta, ond’io d’arder mi glorio.” 635 Et ella a me: “Io ti prometto, Lice, Che mi sembra ad ognior più vero il sogno.” Al fin mostrò per le preghiere mie Di rallegrarsi alquanto. Io l’invitai A venir meco in questa valle, ahi lasso, 640 Cagion d’ogni mio male. Ahi valle amena e bella; Per me non fostu amena, Anzi un deserto alpestre Di fere e di serpenti orrida stanza. 645 Per me non fostu bella, Anzi d’orror ripiena Più che l’inferno, e più che Morte cruda. A te sol la condussi, ingrata valle, Perché desse a la tema, 650 E non a l’alma bando. Ella, ch’al mio voler sempre fu pronta, E saper non volea contra mia voglia, Qui meco si condusse; e in questo loco / [17r] Pregaila che di fior vaga ghirlanda 655 Tesser volesse al crin dorato e sparso. Ella a’ miei prieghi qui s’assise, e mentre Vari fiori cogliea, perfido un angue Nel minor dito de la bella destra La punse, e ratto il braccio, il petto, e’l collo 660 Se le gonfiò sì fieramente ch’io

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it pleased the gods that I awoke full of fear and horror. I then arose and on opening the door to the hut saw a black crow circling around me,55 and this filled me with sad foreboding and is the reason you see me so unkempt.” I tried to use all my powers to comfort her and said to her, “My dear heart, look at these eyes of mine, which are yours too—they are lively and healthy. Only your sadness / [16v] makes them melancholy. Now let them gaze happily upon your beauty, so that I can burn in pride.” To which she replied, “I swear to you, Lice, that the dream seems ever more real to me.” Finally, my entreaties appeared to make her rather more cheerful. I invited her to come with me to this valley—O alas, the cause of all my woes! Ah, delightful and beautiful valley, to me you were an unpleasant, mountainous desert, a terrible abode for beasts and serpents. To me you were not lovely; you were filled with greater horror than hell, and you were crueler than Death. Horrid valley! I brought her to you only so that she would give up her fear—not her soul. My nymph, who was always ready to do as I wished, and never wanted to contradict me, came with me here, and in this place / [17r] I begged her to weave a lovely garland of flowers for her flowing, golden tresses. She sat down here at my behest, and while she gathered various flowers, a treacherous snake stung the little finger of her lovely right hand, and her arm, breast, and neck swelled so rapidly and fiercely that I

116 Partenia, favola pastorale Restai stupido affatto, E senza fin dolente; Tanto più ch’ella aita Gridando mi chiedea sì caramente, 665 Che consumar mi fea di doglia e d’ira. Ben fosti allor mio core Più del diaspro duro, Poscia ch’a’ suoi lamenti Non ti spezzasti in mille parti e mille. 670 Talia O ch’infelice caso, Io ben mi meraviglio, Che tu restasti vivo, Misero, che conforto le porgevi? Lice

Nulla le potea dir, ma piangea seco. / [17v] 675 Ella sforzata al fine Pur di dover morire Mi disse, ahi detti amari: “Cor mio, vo’ di tua mano esser sepolta Nel loco, ove da prima mi vedesti.” 680 O bocca che sì spesso Sì dolcemente a me parlasti, et ora Sì amarament[e] parli.

Talia

(O infelice, ancor lì par d’udirla.)

Lice A questo io le risposi: “Alma mia diva, 685 Nol potrò far né lo vo’ far, vo’ teco Morire, e se’l dolore Non mi darà la morte, Questa mia mano ardita Me la darà sì tosto, 690

Partenia, A Pastoral Play 117

Talia

Lice

was left completely dumbstruck, in a state of boundless grief.56 This increased as she screamed and begged for my help so imploringly that I was consumed with sorrow and anger. O heart of mine, you must have been harder than jasper not to have shattered into many thousands of pieces at the sound of her cries!

O what a tragic case! I am truly amazed that you stayed alive. O unfortunate shepherd, what comfort did you bring her?

There was nothing I could say to her, but I wept with her. / [17v] In the end, when she was finally close to death, she said to me—ah, what bitter words—“My dear heart, I want to be buried by your hand in the place where you first saw me.” Ah that mouth that usually spoke to me so sweetly and now spoke so bitterly!

Talia [Aside] O unhappy shepherd! He still seems to hear her! Lice

To this I replied, “My noble goddess, I cannot bury you, nor do I wish to do so, as I want to die with you; and if my sorrow will not bring death, this bold hand of mine will deal it so quickly that my life will end before yours.”

118 Partenia, favola pastorale

Che fine avrà pria de la tua mia vita.” Ella: “No no cor mio, non vo’ tu mora. Vivi fin che’l ciel vuole: E bench’io mora, credi Che ’l mio amor non morrà, se ne l’inferno 695 Amar sì puote ancora. / [18r] Dammi ch’io me ne vò gli ultimi baci.” Et “oimè”, disse, “a dio”, gli occhi chiudendo, Ch’han fatto mille volte invidia al sole, Gli occhi ch’erano a me luce vitale. 700

Talia O misero pastore, o grave doglia. A me t’appoggia, ch’io da questo tronco Sostenuta potrò ben sostenerti. (Lassa, egli è tramortito, o Dei, o cielo.xlvii Che far potrò? Di qui passasse almeno 705 Pastor’ o ninfa, ch’acqua fresca al fonte Prendesse, e’l ristorasse. O Coridone, Quanto il rio caso mi contrista, e quanto Poco di te più mi terrò secura. Ma par ch’egli respiri.) 710 Pastor, come ti senti? Lice Ahi che pur torno vivo Per rinovar il duolo, et ella è morta. Or senza lei qui sono? O felice colui cui fu concesso 715 Di gir’ ai Regni Stigi E Pluton a pietà mosse, e l’inferno. / [18v] So ben ch’ancor di me pietate avrebbe S’udisse i miei lamenti, E vedesse il mio pianto. 720 E pur lo san gli Dei tutti del cielo, E sì mi son crudeli Che mi v[i]etano il gir, lasso, a l’inferno.

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Lice

She exclaimed: “No, no, my dear heart, I do not want you to die. Live as long as heaven wishes.57 And even when I die, trust that my love will not die, if in the underworld one can still love.58 / [18r] Give me your last kisses for I am departing.” “Alas,” she then said, “farewell,” and closed those eyes that have so often outshone the sun and that were my life-bringing light.

O wretched shepherd, O deep woe! Lean on me, for supported by this trunk I will be able to bear you. [Aside] Alas, he has fainted. O gods! O heaven! What can I do? If only a shepherd or nymph would pass by, who could get fresh water from the stream to restore him. O Coridone, how this terrible case saddens me, and how insecure I shall now feel about you. Ah, he seems to be breathing. [To Lice] Shepherd, how do you feel?

Alas, once more I return to life to renew my grief, while she is dead. Am I here without her now? O how fortunate was the man allowed to go to the Stygian Realm, and who moved Pluto and hell to pity.59 / [18v] I know that the god would have pity on me as well, if he heard my laments and saw me weeping. And all the gods in heaven too know my sorrow, yet, alas, they are so cruel as to prevent me from descending to the underworld.

120 Partenia, favola pastorale Almen morir potessi, Così la troverei, 725 Se vivo non la trovo. E morto la godrei, Sì come a punto la godea vivendo. Ma questo avien perché il futuro sanno. San ch’io tornerei su senza voltarmi, 730 In ciò più saggio del famoso Orfeo. Ah temeraria lingua! Questo non m’è concesso, Forse, per men mio male. Non saría doppia poi la doglia e ’l pianto 735 Se ritolta mi fosse? O Dei l’affanno mi sforza, ond’io vaneggio. Talia

Pastor quètati omai, raffrena il pianto, / [19r] Non parlar degli Dei, gli Dei non ponno Errar già mai. Ti prego caldamente 740 Ch’al sepulcro mi guidi de la ninfa, Ch’esser non può non l’abbi fatto, s’ella Tel comandò morendo.

Lice

Con quel maggior dolor ch’aver si possa, Io le diè sepoltura più onorata Che possa dare un’ umile pastore.

Talia

Ora non ti dispiaccia a lui condurmi, A ciò ch’ella da me anco ricevaxlviii Fior, frondi, incenso, preghi, pianto, e lodi.

Lice

Qual cosa potrà mai scemar l’atrocexlix Mio grave duolo, o crescerlo in un punto, Se non il loco ove le belle membra

745

750

Partenia, A Pastoral Play 121

Talia

Lice

Talia

Lice

If only I could die! That way I would find her, since I cannot do so alive. And in death I would enjoy her as I did while she was living. But the gods deny me this because they know the outcome. They know that I would return to the world without turning around, for in this way I am wiser than the famous Orpheus. Ah, rash tongue! Perhaps I have not been granted this chance to spare me pain. Would my sorrow and tears not be doubled if she were taken from me again? O gods, my desperate suffering makes me rant.

Shepherd, calm yourself now and restrain your tears. / [19r] Do not speak so of the gods; for they can never err. I entreat you as a friend to lead me to the tomb of the nymph, for you must have erected one if she commanded you as she was dying.60

With the greatest possible sorrow I gave her the most honorable burial that a humble shepherd can give.

Please, would you take me to the tomb so that I too can give her flowers, branches, incense, prayers, tears, and praises.

What could ever ease in an instant my dreadful, overwhelming grief, or increase it, more than the place where the beautiful

122 Partenia, favola pastorale

Sepolte son, ch’io amai cotanto et amo?l Andiam, che potria forse Quivi la vita mia finirsi, e ’l pianto.

Talia

Andiam che piaccia al ciel di consolarti.

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Il fine del primo Atto / [19v] ATTO SECONDO SCENA PRIMA

Tirsi pastor solo Tirsi

O felice colui che in bel foco arde. Nobil fiamma d’amor qual non ha forza? Ogni basso pensier scaccia e consuma Qual vento nebbia e qual il lume l’ombra: E ’l vitio spoglia, e virtù veste e onore. 5 Ogni oscuro intelletto a pien rischiara, Et ogni basso sovra ’l cielo inalza. Pronto il pensiero ad ogni impresa rende Ancor che grande, e la memoria avviva Già spenta, quasi avviva l’esca il foco. 10 Or provo in me pur tutto questo, Amore, Mercè de la tua cara e nobil fiamma. Non era io già pastor che sol vivea In vil pensier di pecore e d’armento? Et [non]li mi vivo or di pensier celesti, 15 Mentre ch’io miro e penso a la beltate di colei, ch’ora è ninfa e sarà Diva? Non era io già sì d’ignorantia pieno / [20r] Che belli mi parean sol questi fiori?

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Talia

body that I loved so much, and still love, is buried? Let us go, for perhaps there my life and my weeping will end.

Let us go, and pray heaven console you. End of Act One / [19v]

ACT TWO SCENE ONE

Tirsi alone Tirsi

O how happy a man is when he burns with true passion! What force is the noble flame of love not capable of? It conquers and chases away every base thought, as the wind does the mist, and the light the shade. It strips away sin and is appareled with virtue and honor. It fully enlightens every clouded intellect and raises any low thoughts above the heavens. It prepares the mind for every deed, however great, and revives failed memory, as tinder rekindles fire. Now I too feel all this within me, Love, thanks to your precious and noble flame. Was I not previously a shepherd who lived only with lowly thoughts of sheep and herds? And now do I not live with heavenly thoughts, when I behold and contemplate the beauty of the lady who is at present a nymph and will be a goddess? Was I not so full of ignorance / [20r] that only these flowers seemed pretty to me? And now, if I gaze at her,

124 Partenia, favola pastorale

Et ora non conosco, se lei miro, Qual puote esser beltà la suso in cielo. Non avev’io sì l’intelletto oscuro Ch’io credea sol che somma gloria fosse Correr veloce, e lanciar forte il dardo? Et or nel suo bel viso non comprendo Qual deve esser la gloria degli Dei? Già mi premea pensier sol di ricchezze: Et or sol di virtù mi preme voglia, Per esser caro a lei ch’adoro in terra, O non discaro almeno. O me felice, Poiché tanta beltà conosco et amo. Deh perché non ritrovo ora Leucippo Cui narri parte de le gioie mie? Quanta allegrezza avria, ch’ei m’ama tanto, Quando udisse da me che mentre io giva Al tempio santo de la casta Dea, Mi ramentai che già dicea mio padre, Che il suo padre dicea, che solea dire D’aver da l’avo suo materno udito / [20v] Raccontar, che ’l bisavo suo dicea, Che fu già ne la Grecia un pastor saggio In[n]amorato di ritrosa ninfa, Il qual, mentr’ella era nel tempio orando,lii Un pomo in grembo le gittò, cui scritto Havea d’intorno: “Io giuro a te, Diana, Di voler sol costui per mio marito,” E ch’io sì ben di questa astuta istoria Mi son servito, che Partenia mia Giurato anch’ella ha nel medesmo modo +> [in un pomo leggendo quelle note,]liii Scritte da me sì come scrisse il Greco, Fuori che ’l nome suo, che ’l mio dicea, Tal che Partenia per ragion d’amore Non sol, ma ancor per giuramento espresso Fatto a l’alma sua Dea, convien sia mia. Ma poi ch’io non l’ho visto dianzi al tempio,

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do I not recognize what beauty could be like in heaven? I had such a dull wit as to believe that the greatest glory was merely to run quickly and to hurl my spear with force. And now I understand from her beautiful face what the glory of the gods must be like. Before, I was concerned only with thoughts of wealth; and now I am moved only by the desire for virtue, so that I can be dear to the one lady in the world whom I adore—or at least not despised by her. O how happy I am now that I perceive and love such beauty. Ah, why do I not find Leucippo again to tell him in part of my joy? How happy he would be—since he loves me so—when I tell him that while I was walking to the holy temple of the chaste goddess,61 I remembered a story that my father used to tell, which he had heard from his father, told to him by his maternal grandfather, by his great-grandfather in turn. / [20v] The story concerned a wise shepherd in Greece, who was in love with a recalcitrant nymph. While she was praying in the temple, he threw an apple into her lap, which had these words written around it: “I swear to you, Diana, that I desire only this man for my husband.” I have used this cunning story so cleverly that my Partenia has also sworn in the same way, by reading aloud those words that I wrote on an apple, just like the Greek did, except with her name inscribed, saying she was mine. For this reason, Partenia must be mine—not only for the sake of love, but also because she has clearly sworn an oath before her great Goddess.62 But as I have not seen Leucippo in front of the temple, and I do not see him here either,

126 Partenia, favola pastorale

Né qui lo veggio, vo’ cercarlo tanto Ch’io lo ritrovo, ch’io non godo a pieno Di mia felicità s’ei non neliv sente. O felice per me dolce memoria, / [21r] Che cagion fosti di far me sì lieto.

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SCENA SECONDA

Coridone pastor solo Coridone Bench’io sia stanco di cercarti, ancora Satio non sono, o mia diletta amica. Misero me, che poco spirto o lena Mi trovo più, e poco di speranza 65 Mi resta di trovarti. Ha già duo giorni Ch’io ti cerco, e ricerco in ogni lato, Né trovar so di te vestigio o spia. Più non so dove gir. Ben mi credea (E ragion lo volea) trovarti al tempio, 70 Ma tu non vi se’ stata, o fato averso! O Dei, la mia Talia dove si trova? Forse al veloce corso, A cui sì pronta è sempre, Avrà col bianco piede 75 Percosso in dura pietra, E dal dolor’ oppressa, Non si può solevar, lassa, da terra. Forse una cruda fera / [21v] L’avrà sbranata e morta. 80 Ahi ch’à pensarvi solo M’afflige, anzi m’accora Il duolo, or che saria se vero fosse? Ma non potrebbe ella esser lieta ancora? Non potrebb’ella un più leggiadro amante 85

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I shall search for him until I find him, for I cannot fully enjoy my happiness until he hears about it. O what a fortunate, sweet recollection, / [21r] which has brought me such happiness!

SCENE TWO

Coridone63 alone Coridone Although I am weary from searching for you, I am still not done, my dearest friend. Ah me, I have little more breath or strength for this, and little hope remains that I will find you. For two days already I have been endlessly searching for you everywhere, without finding a single trace or sign of you. I no longer know where to turn. I certainly thought (with good reason) that I would find you at the temple. But you have not been there. O adverse fortune! O gods, where can I find my Talia? Perhaps while running rapidly—something she always delights in—her snow-white foot may have struck a hard stone and, alas, maybe she is overcome with pain and unable to raise herself from the ground. Perhaps a vicious beast / [21v] has torn her to pieces and killed her. Ah, the mere thought of this torments me, and I am deeply afflicted by grief—how then would I feel if this were true? But might she not also be happy? Could she not be enjoying a lover more attractive than I am, though he

128 Partenia, favola pastorale

Di me godersi, ancor che del suo amore Men di me ardesse; e ragionando seco, De l’amor mio gabbo pigliarsi e riso? S[a]rebbe forse ella la prima ch’abbia Il suo amante schernito, e con oltraggio A reciproco amor rotta la fede? Non potria, sì fastosa e tanto altera Sovra tutte le ninfe, essempio crudo Prender da lei che ria cagion fu sola D’incendio fiero a la città del drudo? E da colei che, del figliastro accesa, A sè stessa aquistò morte, et a lui? Io ben conosco il suo pensier superbo, Che di regina è sol, nonlv d’umil ninfa: E per voler gran donne imitar forse, / [22r] In qualch’error cadrà malvagio e vile: Che’l sesso feminil tanto è imperfetto Che spesso piglia per lo bene il male. O felice colui cui fu concesso Dal ciel d’umile donna essere amante, Ch’ei non ha da temer che col pensiero Voli in un punto da l’un polo a l’altro. Ah, che dico io? Alto pensier di donna Non consente a misfatti, a vili imprese: E le nomate dianzi empie regine Di villane e d’ancille ebber pensieri, Non di regine; e qual pensier mai scorsi Che bel non fosse ne la mia Talia? Qual cenno vidi, o quale udì mai detto In lei, ch’ornato ben non fosse in tutto D’onestissimo amor, d’altezza immensa? Et ora io temerario oso di dire Che faccia cosa disonesta e brutta? Ah pur de l’alto animo suo dovrei Viver sicuro, e se ’l mio amarla odiasse, Creder non potrei mai ch’altr’omo amasse. / [22v] Quante volte m’ha detto: “O quanto torto,

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would burn less than I do with love for her; and might she not be conversing with him, and mocking and laughing at my love? Would she perchance be the first woman to scorn her lover and break the faith of mutual love with such an offense? Given that she appears so magnificent and proud beside the other nymphs, might she not follow the cruel example of that queen who alone was the evil cause of her wanton lover’s city being set ablaze?64 Or else the queen who, after falling in love with her step-son, brought death to herself and to him?65 Well I know her proud thoughts, more suited to a queen than a humble nymph! Perhaps in wanting to imitate great ladies / [22r] she may commit some wicked and base deed, for the female sex is so imperfect that it often mistakes evil for good.66 How happy a man is who has been permitted by heaven to love a humble woman, for he does not have to fear her thoughts flitting all at once from one state to another. Ah, what am I saying? A woman with a lofty mind does not stoop to misdeeds and base actions. And the wicked queens just mentioned behaved more like peasant girls and serving wenches than queens.67 When did I ever discern in my Talia a thought that was not good? What did I ever see in her or hear her say that was not most honorable and accompanied by pure love? So how can I now rashly dare to say that she is committing a foul and dishonest deed? Ah, surely I should be secure in the knowledge of her noble mind, and even if she loathed my love for her, I could never believe that she loves another man. / [22v] So many times she has said, “Oh, how I offend

130 Partenia, favola pastorale

Coridon, faccio a l’alto mio pensiero, Amando omo terren. Ma poi che ’l cielo Pur il consente, amerò te mai sempre,lvi Fin che la carne cingerà quest’ossa, Purché da te non nasca la cagione Ch’io non t’abbia d’amare. Il che se fosse, Altro non amerò vivi sicuro; Né vo’ ch’a me sia di vergogna il dire Ch’ancor del bel tuo foco il mio cor’arda.” Dunque, misero me, sinistro caso La ritien, ch’oggi a me non sia venuta, Ch’un’ora star non può, non che duo giorni Sì come quasi è stata, che con meco Ella sempre non sia. Ahi che far devo,lvii Lasso? Cercherò tanto ch’io la trovi O viva o morta, o d’altro amante o mia. Costui che di qua vien mi par Leucippo. Forse saprà di lei novella darmi.

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SCENA TERZA

Leucippo e Coridone pastori / [23r] [Leucippo] O fortuna nemica, io non son giunto Al tempio a tempo de la bella festa. Ogni ninfa e pastor partito s’era, Tal che Partenia (oimè) non ho veduta. Coridone (Parla de la sua ninfa, o quanto temo Che non sia disperato il caso suo, Veggendo lei sì verso Amor ritrosa.)

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my lofty thoughts in loving a mortal man, Coridone. But since heaven allows it, I will love you ever more,68 as long as my flesh clings to these bones, unless you give me cause not to love you. Even if that happened, be assured that I will never love another. Nor shall I be ashamed to say that my heart is still ablaze with true love for you.” So, alas, some ill-fated cause must be keeping her from coming to me today, for an hour cannot pass—let alone two days, as it has almost been— without her being continually by my side. Ah, what shall I do? I will search endlessly until I find her, be she alive or dead, my beloved or another’s. This man who is approaching looks like Leucippo. Perhaps he can give me news of her.

SCENE THREE

Leucippo and Coridone, shepherds / [23r] Leucippo [Aside] O adverse fortune! I did not arrive at the temple in time for the great festival. Every nymph and shepherd had left, so I did not see Partenia, alas.

Coridone [Aside] He speaks of his nymph. Oh, how I fear that his suit is hopeless, seeing that she is so set against Love.

132 Partenia, favola pastorale Leucippo (Questi Coridon parmi.) Amico, il cielo Ti sia più sempre amico; or qual fortuna Qui ti conduce sol senza Talia?

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Coridone Duo giorni son ch’io senza lei mi vivo, Leucippo mio, e mi stupisco come, Né so pensar s’ella sia viva o morta. A la capanna l’ho cercata, e dove Star spesso suol con l’altre ninfe, et anco 155 Al tempio, né la trovo, e non ritrovo Chi pur veduta l’abbia, onde scontento Son di chi più scontento oggi si trovi. Ahi quanto può beltà di bella ninfa In cor d’uom, benché crudo. Un guardo, un cenno 160 Ti fa beato, e in un momento poi / [23v] Diventi essempio di miseria al mondo. Chi più di me felice esser potea Mentr’era meco la mia bella ninfa? Et or ch’io l’ho smarrita, oimè, chi puote 165 Esser di me più misero et afflitto? Leucippo Coridon ti conforta, che Talia Troverai tosto, e qual fu sempre teco. Lascia ch’io mi lamenti e mi consumi, Ch’amo ninfa d’Amor tanto nemica 170 Che nulla più: né come tu per prova So d’esser stato mai felice un punto. Tu non provasti mai d’esser fuggito, Ned io provai giamai d’esser amato. Coridone Qual credi tu chelviii sia maggior dolore, 175 Leucippo: o di colui ch’amato un tempo

Partenia, A Pastoral Play 133 Leucippo [Aside] That looks like Coridone. [To Coridone] Friend, may the heavens smile on you ever more. What fortune now leads you here alone without Talia? Coridone For two days I have been without her, my dear Leucippo, and I am amazed that this has been possible. I am not even sure whether she is alive or dead. I looked for her at her hut and in the place where she often spends time with the other nymphs, and also at the temple, but I cannot find her or anyone who has even seen her, which makes me unhappier than the unhappiest person alive. Ah, what power the beauty of a lovely nymph has over a man’s heart, however uncivilized he is. A single glance or gesture from her makes him feel blessed, yet in an instant [23v] he appears a picture of wretchedness to all. Who could have been happier than I was while my beautiful nymph was with me? And now that I have lost her, alas, who could be more miserable and tormented?

Leucippo Be of good cheer, Coridone, for you will find Talia soon and unchanged in her feelings toward you. Now it is my turn to lament and pine, for I love a nymph who hates Love more than any other. Nor have I ever once enjoyed any happiness of the sort you have experienced. You have never felt what it was like to have your beloved flee from you, nor have I ever felt what it is to be loved.

Coridone Which pain do you think is worse, Leucippo, that of a man who was loved for some time by his beloved and then

134 Partenia, favola pastorale

Fu da l’amata sua, poi ne fu privo; O di colui che grandemente amando mai non fu riamato? E non so come Abbi ragion tu di dolerti. Ottinio 180 T’ha fatto ricco, onde Partenia e ’l padre Per gratia avran d’imparentarsi teco. / [24r]



Leucippo Credetti e sperai già ch’esser dovesse Partenia mia. Or non lo credolix o spero; Che nato un non so che m’è dentro al core, 185 Che di speme mi priva e di credenza. Sempre mi par veder Partenia sposa D’altro pastore, e sempre ho nel pensiero Ch’a gran speranza uom misero non crede. E che pon le ricchezze? Ottinio dice 190 Ch’alto pensiero ha le ricchezze a schivo. Coridone Lascial pur dir, ch’ogni uom ricchezze brama. Leucippo Le bramano color che vili han tema Ch’ogni cosa lor manchi, et che i tesori Tengono ascosi per tal tema, e sempre 195 Ne braman più quanto più n’hanno; dimmi Non senti tu s’a la cittate vailx Duci nomare, imperatori, e regi, Ch’ingordi de l’alt[r]ui venner tiranni? E credi, ch’oggi di sì fatti mostri 200 Sia privo il mondo? E quinci è che pietate E clemenza e giustitia in bando vanno. O miseri color che ’l ciel soggetti / [24v] Fa di simili fere, in cui risplende Il vitio sol. La crudeltà, la fraude 205 Son lor compagne. Or questi han le ricchezze In pregio; e non Partenia e ’l padre suo,

Partenia, A Pastoral Play 135

was deprived of this affection, or that of a man who despite loving passionately was never loved in return? I do not know what reason you have to complain. Ottinio has made you rich, so Partenia and her father will gladly conjoin themselves with you through marriage. / [24r]

Leucippo Indeed, I did hope and believe that Partenia would be mine. But now I do not, for some indefinable doubt has arisen in my heart, which stifles these hopes.69 I always seem to see Partenia married to another shepherd, and am continually reminded that a wretched man should not trust in great expectations. And what good is wealth? Ottinio says that noble minds disdain riches.70

Coridone Let him say that; in reality every man desires wealth. Leucippo It is the base-minded who desire riches and dread losing their possessions. They keep their treasures hidden for fear of this, and always yearn for more wealth, however much they have. Tell me, if you go to the city, do you not hear tales of rulers, emperors, and kings who through their greed for others’ wealth became tyrants? And do you think that such monsters exist no more? For this reason mercy, clemency, and justice are banished in our day. O wretched souls whom heaven / [24v] subjects to beasts like these capable only of vice. Cruelty and deceit are their companions. These are the sort that hold wealth in esteem, and not Partenia and her father,

136 Partenia, favola pastorale

Che d’onor sono, e di virtute amici. Conta la nobiltà d’Ergasto, Ottinio; E dice ch’egli vien per linea retta 210 Da un gran pastor che fu a l’età de l’oro, Quando ogniun si vivea semplice e buono. Or vedi s’ei può le ricchezze amare, Né men la figlia, Dea de l’alma mia.

Coridone Leucippo, sta contento, e credi e spera 215 Ch’avrà il tuo amor lieto e felice fine. Così potess’io ritrovar colei Che l’alma mia seco si porta, e ’l core. Leucippo Non temer, Coridon, che l’avrai teco Pria che ’l sol vada a chi di là l’aspetta.

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Coridone Vòglialo il ciel, ma ch’io la trovi mia.

Leucippo Tua la trovarai, più bella e lieta.

Coridone Bella sì, mia non so, ben lieta bramo; Ma poi gli spirti ho rinfrancato alquanto / [25r] Vo’ tornare a cercarla in ogni parte, E sempre cercaròlxi se non la trovo Finché avran spirto queste membra lasse. Leucippo Et io cercando andrò di lei ch’a questi Occhi è sì bella, a questo cor sì cruda.

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who are friends of honor and virtue. Ottinio values the nobility of Ergasto, and says that he descends directly from a great shepherd who lived during the Golden Age, when everyone lived simply and well. How then can Ergasto love wealth— and how can his daughter, who is the goddess of my soul?

Coridone Leucippo, be satisfied. Trust and hope that your love will have a happy and joyful end. If only I could find the nymph who holds my heart and soul.

Leucippo Do not fear, Coridone. You will have Talia with you before the sun-god goes to the goddess who awaits him beyond.71 Coridone Let Heaven grant this, and that she is still mine when I find her. Leucippo You will find her still yours, and even more beautiful and joyful. Coridone Beautiful certainly, but perhaps not mine; I hope she will be joyful. But now that I have restored my spirits somewhat / [25r] I want to search thoroughly for her once more and, if I do not find her, I shall continue to search as long as these weary limbs have the strength. Leucippo And I will seek the nymph who appears so lovely to my eyes, but is so cruel to my heart.

138 Partenia, favola pastorale Coridone Io n’andrò in questa parte, ov’è il bel colle 230 D’Ottinio tuo, ch’ella potrebbe forse Esser gita a pigliar leggiadri fiori, Odorifere erbette e dolci frutti. Leucippo Et io n’andrò in quest altra, ov’è il bel fonte Sì dolce e chiaro. A dio pastore. Coridone A dio. 235

SCENA QUARTA

Partenia sola Partenia S’andai al tempio tuo lieta e gioiosa, O santa Dea, torno gioiosa e lieta: Che se non t’onorai quanto conviensi, T’onorai quanto seppi, e puramente. Così sia tu degli error miei pietosa, Com’io desio di riserbarti intatta La mia virginitate, o com’è cara. / [25v] Virginitate è più d’ogni tesoro Utile e pretiosa. Il vile amore Da te discacci, et ogni van pensiero Atterri e struggi: e fai chi ti conserva Quasi Dea riverir da tutto il mondo. E tu Diana, a lei scudo sei sempre Contra gl’insidiatori, e contra gli empi. Or, chi è questo? Ahi ch’egli è quel crudele Insidiator di mia virginitate,

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Partenia, A Pastoral Play 139 Coridone I shall go this way, toward the lovely hill of your Ottinio, where perhaps she has strayed to gather pretty flowers, fragrant herbs, and sweet fruits.

Leucippo And I will go the other way, where the beautiful spring runs so sweet and clear. Farewell, shepherd! Coridone Farewell!

SCENE FOUR

Partenia alone Partenia Just as I went happily and joyfully to your temple, holy goddess, I now return joyful and happy. I may not have honored you as much as I should, but I honored you purely, and as best I could. So forgive my errors in return for my desire to preserve my virginity intact for you. Oh, how dear my virginity is to me! / [25v] It is more precious and beneficial than any other treasure. O virginity, you drive away ignoble passion, you fell and crush every vain thought. You ensure that those who observe your rule are revered like goddesses by all the world. And you, Diana, are a constant shield for virginity against those who would ensnare the innocent and practice wickedness. But who comes now? Ah, it is that cruel assailant of my virginity.

140 Partenia, favola pastorale

O santa Dea, al gran bisogno aita. Gli occhi a lui vela, a me le piante impenna.

SCENA QUINTA

Cromi satiro solo [Cromi] Rio fato, fiere stelle, iniqua sorte, Pur mi conviene al mio dispetto amare. 255 Io lo confesso Amor, son da te vinto. Tu m’hai ferito, o com’esser può mai Ch’abbi passato questo cor sì duro? E non ferito sol, ma acceso et arso Per simplicetta ninfa, che sol cura 260 Serbar viriginitate. O fosse almeno / [26r] Sì com’è bella, accorta e saggia, ch’io Sarei felice più degli altri amanti; Perché semidei sono essi mortali, E simiglianza ho del silvestro dio,lxii 265 E son forte e membruto più di loro Per poterla guardare in ogni loco. Ho queste corna mie sì sode e dure Ch’offenderian chi lei volesse offendere. Ho questa fronte, ove si vede aperto 270 Tutto quel che nel cor porto scolpito. Questi occhi poi, sì rossi e coloriti, Inditio dan de la natura mia: E questa barba così lunga e bella, Che decoro mi dà? Questo velluto 275 Mio petto, qual in sè forza non serba? Ben tu la proverai, semplice ninfa, S’avien ch’io ti ritrovi e ti raggiunga, Sì com’io vo’ che questi amanti tuoi La provino a lor costo, s’avien mai 280

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O holy goddess, help me in my great need! Veil his eyes and make me fleet of foot.

SCENE FIVE

Cromi the satyr alone72 Cromi O wicked fate, cruel stars, and unjust destiny! I am forced to love despite myself. I confess, Love, that you have conquered me and wounded me. Oh, how can it be that you have pierced this hard heart—and not just wounded it, but set it alight and burnt it—for a simple, young nymph whose only care is to preserve her virginity? Oh, if only she were as / [26r] prudent and wise as she is beautiful, then I would be happier than other lovers. For they are mortal semi-gods, while I am like the woodland deity, Pan.73 I am stronger and sturdier of limb than they, so I can watch over her everywhere. These horns of mine are so firm and hard that they would hurt whoever sought to hurt her. Behold my visage upon which my heart’s feelings are clearly engraved. These eyes of mine too, so red and vivid, reveal my nature. And what gravitas I gain from this long and full beard! What strength does not reside in this shaggy breast of mine? You will certainly feel it, foolish nymph, if I should happen to find you and reach you. I want these lovers of yours to feel it to their cost too,

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Che mostri tu ch’essi ti sian più cari. Ma ben sarà la prova di[f]ferente; / [26v] Che rimarai tu viva et essi estinti. Vedrai, se mai ne le mie mani arrivi, Quanto potrà la casta Dea ch’adori, 285 Né ti varran con lei preghi, né voti, Perché di te malgrado suo non goda. Adempirò mia voglia, e in te la fiamma Ardente estinguerò che mi consuma: Né pensar ch’a sospiri, a preghi, a pianti 290 Si mova mai la mia ostinata voglia, +> [E venga poi quel ch’a venir ­ne puote:]lxiii Che se ben di tua man morte ti dessi Contento io sarò pure. In ogni modo S’a me spietata sei, ragione è ch’anco 295 Ti mostri contra te spietata e fiera. Ma perché tardo, poiché qui non sei, A ricercarti altrove, acciò che tosto Conoschi quanto potrà la tua Dea Mentre io t’avrò ne le mie braccia stretta? 300

SCENA SESTA

Ergasto, Elpino pastori vecchi Ergasto

Quanto sono i travagli, Elpino mio, Di questa vita nostra umana e frale, / [27r] Color sel sanno a cui caduti sono Parte dei crini, e l’altra parte han bianca.

Elpino Com’abbiam noi. Ma sappi, Ergasto, ch’io Non lascio molto in me poter l’affanno, Guasti il lupo la greggia, o bestia infettisi

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if you ever show that they are dearer to you. But they will feel my strength very differently. / [26v] You will be left alive, while they will be crushed. If I ever get my hands on you, you will see how little power the chaste goddess whom you adore has. Your prayers and vows to her will do nothing to stop me from enjoying you, despite her wishes. I will fulfill my desire and extinguish in you that burning flame that consumes me. Do not imagine either that my stubborn desire will ever be moved by sighs, pleas, or tears. After that, it matters not what happens; even if you killed yourself by your own hand, I would still be satisfied. In any case, if you are pitiless toward me, it is only right that you behave pitilessly and cruelly toward yourself. But since you are not here, why do I delay in searching for you elsewhere? I want you quickly to realize the true power of your goddess, while I clasp you tightly in my arms.

SCENE SIX

Ergasto and Elpino, elderly shepherds74 Ergasto What great troubles our mortal and fragile life brings, my dear Elpino. / [27r] This is clear to those advanced in years whose little remaining hair is white …

Elpino As is the case with us. But, Ergasto, you should know that I do not let troubles vex me greatly. If a wolf destroys the herd, or a beast becomes infected and infects the others,

144 Partenia, favola pastorale Ergasto Elpino

Che l’altre infetti, o pochi frutti colga, O si secchino i fonti; io me la passo Costante sì, che mai cibo né sonno 310 non perdetti, e vo’ sol quel che ’l ciel vuole.

Sai tu perché? Perché non hai figliuoli. Facile è il contrastar con la fortuna Quand’altro amor che ’l proprio non [ci]lxiv preme. Chi non è per sè sol bastante al vitto? 315 Chi nei perigli non sostien se stesso? I figli son che ti dan cure e sempre Sospeso esser ti fanno o de la vita, O quel ch’importa più, del lor onore.

Credo ben ch’ogni padre ami i suoi figli Perché natura e la ragione il vuole: E che per tal’amor di lor si tema; Ma qual paterno amor pareggia il tuo? / [27v]

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Amano tutti i lor figliuoli i padri, Ch’amor non è che si pareggi a questo: 325 Né creder che colui che il figlio scaccia, Come spesso adivien, men di me l’ami. Per suo castigo il fa, e nol facendo Non saria padre pio, ma iniquo e crudo.

Elpino

Ergasto, ho visto pur’un padre avere Duo figli, e buoni e obidienti entrambi, Nati d’un sol amor, sol d’una donna, Et amar’egli assai più l’un che l’altro.

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or if too little fruit is picked, or the streams dry up, I bear it with such constancy that I never lose appetite nor sleep, and I desire only what heaven wishes.

Ergasto Do you know why? Because you do not have children. It is easy to contend with fortune when one is not pressed by any love besides self-love. What man cannot provide food for himself alone? Who does not preserve himself in danger? It is children that cause you concern and always make you worry either about their lives or, more importantly, about their honor.

Elpino I fully believe that every father loves his children, for nature and reason require it, and that this love is what makes him fear for them. But what paternal love can equal yours? / [27v]

Ergasto All fathers love their children—no love can be compared to this. Do not imagine that a father who drives away his son, as often happens, shows less paternal love than I do. He does this to punish his son, and if he did not do so, he would not be a devoted father, but an unjust and cruel one.

Elpino Yet, Ergasto, I have seen a father of two sons—both good and obedient, and born of the same love from the same woman— who loves one son much more than the other.

146 Partenia, favola pastorale Ergasto

Ti dirò, questo avien perché quell’uno Che par ch’egli ami più, sarà più bello, 335 O di virtù più amico, e gratioso Più di quell’altro, o ch’amerà più lui. Non vuoi ch’un più riami s’è più amato? La virtù, la beltà non vuoi che s’ami? Or dunque se ti par ch’un di duo figli 340 Sia più dal padre amato, avien che in questo È doppio amor, di merto e di figliuolo. E questo è in me, ch’una figliuola ho sola, E l’amo estremamente, perch’è bella, / [28r] E sì di gratie e di virtuti adorna, 345 Che, mercè degli Dei, che tal la fero, Ninfa non è ch’al merto suo s’agguagli.

Elpino Certo egli è ver, non è ninfa tra noi Che d’onestà, di leggiadria l’adegui. Ergasto Elpino, questa dunque è la cagione, Che così sviscerato è l’amor mio Verso mia figlia, perch’è doppio amore.

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Elpino

Felice te che se la morte temi, O temi il variar de la fortuna, Non temi almen, che l’onestà s’estingua, 355 Tesor mortal, che ’l ciel n’a[c]quista eterno.

Ergasto

Non deve alcun mortal viver sicuro Di serbar, quanto avrà vita, l’onore, Che da se stesso in sé non può serbare Cosa buona; e sol tanto ne riserba 360 Quanto ha del ciel l’aita, e degli Dei:

Partenia, A Pastoral Play 147 Ergasto I can tell you this happens because the son whom he seems to prefer must be more handsome and charming, or seems more inclined to virtue, or else loves his father more than the other. Do you not agree that the more we are loved, the more we love in return? Do we not love virtue and beauty? So if a father seems to love one of his two sons more, this is because he loves the son doubly—as his child and for his merit. And this is true in my case, for I have only one daughter whom I cherish most dearly, because she is beautiful, / [28r] and so adorned with graces and virtue that—thanks to the gods who made her so—no nymph can match her in merit.

Elpino This is certainly true; her virtue and loveliness are unsurpassed among the nymphs. Ergasto This then, Elpino, is the reason I love my daughter so passionately, because it is a double love.

Elpino Lucky you! For even if you fear her death or a change in fortune, at least you need not fear the loss of her virtue, that mortal treasure that heaven gains eternally.

Ergasto No mortal should ever feel secure in preserving his honor as long as he lives, for one cannot preserve anything good alone; whatever goodness one preserves has been granted by heaven and the gods. But do not think that because

148 Partenia, favola pastorale

Né creder, che perché Partenia sia Sì onesta e saggia, in tutto io sia di lei Satisfatto [e]lxv contento, vedi quanto Insatiabil sia la vita umana. / [28v] 365

Elpino

Ma pur esser la tua devrebbe paga.lxvi Che più brami da lei? O quanti sono Che felici sarian, se le lor figlie Somigliassero in parte a la tua figlia.

Ergasto

Non sai che per natura ogni uom desia 370 Perpetuar come si può sè stesso? E si può far sol nei figliuogli, e poi Nei figli dei figliuogli. Io ne perdetti (O rimembranza amara) un così caro Ch’io sempre il piangerò. Sola rimasa 375 Partenia m’è, e sol da lei desio Prole, onde si perpetui il sangue mio: E perché sì seguace di Diana La veggio, e sì d’Amor fugace e schiva, Mi struggo e ne morrò certo d’affanno. 380

Elpino

Per quel ch’altri godria tu piangi. Piangi Perché tua figlia è onesta, et altri piange Disonesta la sua, come va il mondo. Perdonami, sei sciocco Ergasto mio. Che mi curo io che la mia prole duri? 385 Il mondo è forse eterno? O tosto, o tardi / [29r] Convien finisca, ma se tanto brami Figli de la tua figlia, perché darla Non procuri per moglie a quel Leucippo, Tanto gentil pastor, sì ricco e saggio, 390 Che più che l’alma e che la vita l’ama?

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Partenia is so virtuous and prudent I am completely content and happy with her—now you see how difficult it is to find satisfaction in mortal life! / [28v]

Elpino But surely you should be content. What more could you desire from her? So many people would be happy if their daughters resembled yours even in part.

Ergasto Do you not understand that every man naturally desires to perpetuate himself if he can? And this can be done only through children and then further offspring from these children. I lost a son (ah what a bitter memory) who was so dear to me and for whom I shall always weep.75 Partenia alone remains to me now, and I only long for her to have progeny by which to perpetuate my bloodline. But since I see her so devoted to Diana and so stubborn in fleeing and avoiding Love, I am in anguish and will surely die of grief.

Elpino You weep for what others would rejoice in. You weep because your daughter is chaste; others weep because theirs are unchaste—that is the way of the world. Forgive me, my dear Ergasto, but you are a fool! What do I care whether my offspring lives on? After all, is the world eternal? Sooner or later / [29r] it will have to end. But if you so badly want children from your daughter, why do you not arrange to make her the wife of Leucippo, that noble-hearted shepherd who is so rich and wise, who loves her more than he loves his soul and his life?

150 Partenia, favola pastorale Ergasto Felice mi terrei si ciò potessi. Elpino

Perché non puoi? Forse perch’ella affatto Non si contenta? Non avrai tu ardire Di far ch’a modo tuo tua figlia faccia? Sarai di questi padri sciocchi e stolti, Che’l voler fanno de le figlie loro? Ah, non voler ch’amor vinca il dovere.

Ergasto

Gli Dei veggono, Elpino, i falli nostri Fin su dal cielo, e ne cast[i]gan poi. Se far non lice violenza o forza Ad un stranier, l’abbiam da far’ ai figli? Vuoi ch’io sforzi mia figlia? Nol consente La vita pastorale umile e bassa. Lascia pur che i signor ne le cittadilxvii, Con gli altri errori, ancor commettan questo; Che per aver ereditadi e onori, / [29v] O grandi appoggi, l’infelici figlie Congiungano ad infermi, a vecchi, a mostri; Cagion poi ch’a le figlie, a loro, et anco A le famiglie avien disnore, e danno. Né creder ch’io mi dolga, perch’io creda Ch’al mio voler pronta non sia la mia. Mi dolgolxviii sol che s’io questo le chiedo, Cosa le ch[i]ederò contra sua voglia. E pur vo’ farlo. Ma farollo in modo Ch’ella conosca ch’io non vo’ sforza[r]la. E faccia il ciel di noi ciò che gli aggrada. Andiamo al tempio ove indrizzati siamo. Quivi la troveremo, e dopo i preghi A l’alma Dea, le vo’ parlare, e voglio Che tu vi sia presente.

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Partenia, A Pastoral Play 151 Ergasto If I could do so, I would consider myself fortunate. Elpino What is preventing you? Is it perhaps the fact that she is deeply against this? Do you not have the courage to make your daughter do what you want? Are you one of these foolish and stupid fathers who only want to fulfill their daughters’ wishes? Ah, do not let paternal love overcome duty.

Ergasto Elpino, the gods see our faults from heaven above and later punish them. If it is not lawful to act violently or to use force with a stranger, is it then lawful to do so with our children? Do you want me to force my daughter? The humble and lowly pastoral way of life does not allow this. Let the lords in the cities do this, alongside all the other sins they commit. To gain inheritances and honors, / [29v] or powerful connections, they marry their unhappy daughters off to infirm or decrepit men, or to monsters. This is later the cause of dishonor and detriment to their daughters, to them, and also to their families. But do not think that I am unhappy because I believe my daughter will not readily fulfill my wishes. I only worry that in requesting her marriage, I will be asking her to do something that she does not want. Yet I shall do this! But I will do it in such a way that she realizes that I do not want to force her. Let heaven’s will be done. Let us go to the temple now, as we are going in that direction. We will find my daughter there and, after praying to the holy goddess, I shall speak to her, and I want you to be there.

152 Partenia, favola pastorale Elpino Io son contento. Tu m’hai confuso a ragionar del grande E severo castigo degli Dei. Il fine del Secondo Atto

ATTO TERZO SCENA PRIMA / [30r]

Coridone e Talia [Coridone] Lasso, colei che tanto onoro et amo, E che me riamava, or non m’ascolta Né mi riama più? Colei che stella M’era in mar tempestoso or non mi appare? E quasi afflitto navigante e stanco M’abbandona al bisogno? E con la vista Sola potria bearmi? Ahi, crudel ninfa, Ov’è la fede che mi desti, quando Mostrasti sì d’aver di me pietate? Ov’ or’è il pianto, ove i sospiri sono, E le parole, onde mostravi (ahi lasso) Tanto d’amarmi? Ond’è che sì diversa Da quella che solevi esser procuri? Son queste le promesse e i giuramenti Che mi facevi, acciò che ti credessi Ch’oscura fora anzi la luce, e foco Il gelo, e ciel la terra, e pie le furie, E bramata la morte, ch’un momento Viver potessi senza me, ch’obietto Unico del tuo cor pur mi chiamavi? / [30v] E pur due giorni son che non m’hai visto,

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Partenia, A Pastoral Play 153 Elpino I shall gladly do so. You have confused me with your talk of the great and severe punishment of the gods.

End of Act Two

ACT THREE SCENE ONE / [30 r]

Coridone and Talia Coridone Alas, does the nymph whom I so honor and love—and who used to return my love—hear me and love me no more? Does that nymph, who was my polestar in stormy seas, no longer appear to me? Does she abandon me, like a troubled and weary seafarer in need, when the sight of her alone would save me? Ah, cruel nymph, where is the loyalty that you swore when you showed me such compassion? Where are your tears now? Where are your sighs and the words with which you once (ah alas!) showed how much you loved me? How can it be that you appear so different now from what you used to be? Are these the promises and the vows that you swore to make me believe that for you light would become darkness, fire would turn to ice, heaven to earth, and the Furies would become pious, and death would be cherished, before you could live a moment without me, since you called me the only object of your heart?76 / [30v] Yet you have not seen me for two days,

154 Partenia, favola pastorale

E viva sei, e bella e lieta? E v[u]oi Ch’io non creda che sii mutata in tutto? E che non ami altr’uom? Io ’l credo certo, E che non sia per me giustitia in cielo.

Talia +>

Coridon, mentre che m’hai detto ch’io Non ascolto tuoi prieghi, e ch’io non t’amo, Me n’ho preso tra me trastullo e gioco, Conoscendo la tema degli amanti; Ma il dirmi poi ch’io sia d’altr’uomo accesa, Accesa m’ha di buona sorte teco. Et adirata ti rispondo e dico Che s’onorasti me, io te onorai, E più che non mi amasti, io t’amai sempre: E s’a te stella fui, fosti a me sole. La fè non ruppi mai ch’a te già diedi; Ben feci errore aver di te pietate, E ’l pianto, e le parole, e i miei sospiri Saran gettati, or me n’aveggio, al vento: E saran falsi i giuramenti tuoi, Ma non i miei, e ’l ciel grave castigo / [31r] Te ne darà; e pena avrai, ch’a torto M’incolpi ch’io da te sia stata lunge Per altro amor. Pietà ne fu cagione; E s’a te lieta ritornai, fui lieta Quando ti vidi. Né già creder ch’io Per narrartela sia, che far nol devo, Per non mostrar di far mia scusa teco, [Ch’ove fallo non è non convien scusa,]lxix Ma del difetto tuo me certo incolpi. Esser quel devi tu che la già data Fede hai macchiata, e d’altra ninfa acceso, Più me non curi. Ma se questo è vero, Dillo pur chiaro, e senza alcun rispetto; Ch’al amor farò forza, e che mi piaccia Vorrò quel ch’a te piace. Ben amare

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Talia

and you are still alive, beautiful, and happy. And you want me to think that you have not completely changed—and that you do not love another man? I certainly do believe this, and that there is no justice in heaven for me.

Coridone, while you said that I do not listen to your pleas and that I do not love you, I took it as a pleasing jest, knowing how lovers are beset with doubts. But your claim that I burn with love for another man has rightly made me quite incensed with you, and I shall angrily respond by saying that if you honored me, I certainly honored you, and I always loved you more than you loved me. If I was your star, you were my sun. I never broke the faith that I swore to you. I was quite wrong to have compassion for you, and my tears, words, and sighs will now, I see, be cast to the winds. Your vows may be false, but mine are not, and heaven will punish you severely, / [31r] and you will suffer for unjustly accusing me of staying away from you because of another love. I did so out of piety, and if I returned to you happily, it was because I was glad when I saw you. Do not imagine that I will tell you what happened—I shall not do this to make it clear that I make no excuse to you; for where there is no fault, no excuse is necessary. But surely you are accusing me of the fault you yourself have committed. You must be the one who has tarnished your sworn fidelity, and now, enraptured by another nymph, you care no more about me. If this is true, just say so plainly and without reserve; then I will force my love to end and make myself comply with your wishes.

156 Partenia, favola pastorale

Potrai ninfa di me più bella certo, Ma non già mai ch’in fedeltà mi vinca, Io sì ch’amar potrei pastor più fido: Ma non sia ver, pria m’inghiottisca or’ora La terra in sè, ch’ad altro amor mi pieghi. Lascerei ben d’amarti, s’altra ninfa Il cor t’ardesse, ancorché bella e saggia, / [31v] Il cor, che lieto arse per me gran tempo.

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Coridone Pera il mondo Talia, prima che ’l core, 65 Ch’arde per te, per te non arda sempre, E che la fede a te già data sia Macchiata o rotta, o il mio bel foco estinto, O tu meco adirata. Ah mia Talia, Perdonami, ti prego, 70 Che ’l mio fervente amore N’è stato la cagione. Sai che lo stato uman quant’è più grande Tema l’assale di maggior caduta. Or sì come il mio stato di gran lunga 75 Ogni amoroso e lieto stato avanza, Così tema maggior m’assale il core Mentre l’umane cose tutte miro Volubili, leggiere, et inconstanti, Che non si volga il dolce riso mio 80 In pianto amaro e in dolorose pene. Talia

Io mentre misurai col mio il tuo amore Tema non ebbi che volubil fosse, Se ben volubil son l’umane cose: / [32r] E tu col tuo il mio misurar dèi. Non è ver Coridon? Ma dimmi, giunge Al terminato fine il tuo? Nol credo, E però credi non vi giunga il mio, E pur, se pur si può, l’ha trapassato.

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You might well love a nymph more beautiful than I am, but never one who outdoes me in fidelity. I could indeed love a more faithful shepherd, but let the earth swallow me up this instant if it is true that my heart is moved by another love. I would stop loving you if your heart—that heart that burned happily for me for so long—was burning for another nymph, even if she was beautiful and wise. / [31v]

Coridone Let the world perish, Talia, before my heart, which now burns for you, stops doing so evermore, or before the vow of fidelity that I have already sworn to you is profaned or broken, or my ardent love for you is extinguished. Ah you are enraged with me, my Talia! Forgive me, I pray, for my fervent love has been the cause of this. You must know that the higher one’s position in the world, the greater one fears falling.77 So since my happiness by far outdoes any other lover’s, my heart is assailed by a far greater fear—seeing that all human things are changeable, fickle, and inconstant—that my sweet laughter may turn into bitter tears and sorrowful pain.

Talia

While I measured my love against yours, I had no fear it could be fickle, even though human affairs are inconstant, / [32r] and you must measure my love against your own. Is this not true, Coridone? But tell me, has your love reached its destined end? I do not think so; you should therefore believe that mine has not done so either. And yet, if it is possible, my love has gone beyond this.78

158 Partenia, favola pastorale

Ben mi consolo almen che tu confessi, Che ’l tuo stato amoroso era felice, Et io sola di ciò fui pur cagione, S’eran verace le parole tue; Ma lo conoscerai ben meglio quando Per tua cagion farà da te partita: Ché ’l bene non si può conoscer quando Questa terrena vita lo possede.

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Coridone O mia Talia, olxx che parole amare Odo da quella bocca Che non mai fin ad ora 100 S’aprì ch’a pien non fosse Di dolcezza a mio pro tutta ripiena? Dunque non mi amerai? Non sarò più felice? Tempo verrà, che non sarai più mia? / [32v] 105 O ciel perché mi copri? E perché mi sostieni avara terra? Fulmina Giove irato Questa gravosa salma, Poi ch’ogni sua dolcezza 110 In tosco si converte, e in felelxxi amaro, In duol ogni sua gioia, in pianto il riso. Dunque non udrò più quelle soavi Parolette sì dolci, a me sì care? Mireran gli occhi miei 115 Altra luce, altro sol, altro splendore Che quel de’ tuoi begli occhi? Vivrò senza il tuo amore? Ahi non fialxxii vero mai, Che non sarò di lui sì tosto privo, 120 Ch’io mi torrò la vita Con questa destra mia, ch’a te già diedilxxiii Per ferma, e vera, e ben constante fede.

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At least I am consoled that you confess that you were happy as a lover, and that I alone was the cause, if your words were true. But you will understand this much better when it has ended because of your actions, for we cannot recognize goodness when we have it in this earthly life.

Coridone Oh my Talia! Oh what bitter words now issue from that mouth that before only opened to declare countless sweet nothings to delight me? Will you then not love me any more? Will I never be happy again? Will a time come when you will no longer be mine? / [32v] O heaven, why do you still cover me? And why do you support me, grasping earth? Let angry Jove strike his thunderbolt at this deadweight body, now that all its sweetness is turned to poison and bitter gall, all its joy to sorrow, and laughter to tears. Will I no longer hear those sweet, tender words that are so dear to me? Will my eyes gaze upon any other light, or sun, or splendor than that of your lovely eyes? Will I live without your love? Alas let me never be so suddenly deprived of this, for I will take my life with my right hand, which I previously gave to you to pledge my firm, true, and constant fidelity.

160 Partenia, favola pastorale Talia

Se fosse la tua fede sì constante, E ’l tuo amor sì verace, e così ardente Come tu narri, non potresti darmi / [33r] Con le pungenti et aspre tue parole Giusta cagione d’adirarmi teco: Ché se nol sai, ogni più saldo e forte Laccio amoroso in più di mille parti Romper si può da onesto e giusto sdegno.

Coridone Ahilxxiv mia Talia, costante è la mia fede, Verace è l’amor mio, né fia più mai Ch’abbi per colpa mia giusta cagione D’adirarti con me. Ahilxxv se pietate In celeste beltà giamai si vide, Abbi pietà di chi l’adora in terra. Maladetta la stella, infausto il giorno, Ch’al mondo, ahi lasso,lxxvi queste luci apersi. Talia

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Quétati, Coridon, lascia i singulti, 140 Lascia i sospiri, e omai di pianger lascia; Ch’anch’io m’acqueto, e per pietà do bando Da la memoria al conceputo sdegno, Ancor che giusto: e stà securo e lieto Ch’io sempre t’amerò, pur che tu voglia: 145 Né onesto amor’ il mio fia mai ch’agguagli. E per tòrti dal cor ogni sospetto / [33v] La cagion vo’ narrarti, onde lontana Stata ti son duo giorni, un lxxvii per pietate, L’altro per riverenza degli Dei. 150

Coridone Questo non mi narrar, se solo lolxxviii fai Per scacciar fredda tema dal mio petto; Ch’ardente fiamma sol lo nutre e pasce.

Partenia, A Pastoral Play 161 Talia

If your fidelity were as constant—and your love were as true and ardent—as you say, / [33r] your harsh and bitter words could never give me just cause to be angry with you. For, in case you did not realize, even the strongest and most steadfast bond of love can be shattered into countless pieces by just and righteous anger.

Coridone Ah, my Talia, my faith is constant, my love is true, and you shall never again have just cause to be angry with me because of my actions. Alas, if ever compassion could be found in heavenly beauty, have pity on the one who worships it on earth. Alas, cursed be the star, unlucky the day that I opened my eyes to the world.

Talia

Hush, Coridone, stop your sobbing and sighing, and hold back your tears now. For I too shall calm myself and out of compassion I shall banish from my memory the anger I have conceived, even though it is just. You can be certain and happy that I will always love you, as long as you wish. Nor shall my chaste love ever be equaled. And to remove every suspicion from your heart / [33v] I shall tell you why I stayed away from you for two days. One day was for the sake of piety, the other out of reverence for the gods.

Coridone There is no need to tell me this if you do it only to drive out the cold fear from my breast, for a burning flame alone nurtures and feeds it.

162 Partenia, favola pastorale Talia

Ben me n’accorsi al primo tuo parlare.

Coridone Oimè, m’accori. Talia

Or di che più non parlo.

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Coridone E se narrar la vòi, sostien che prima Io ti ringratii con quella umiltate, Che si convien, del caro don cortese, Che già mi festi, et or me lo ridoni. Talia

Nulla ti posso ridonar, che mai Nulla ti tolsi, poscia ch’io ti feci Dono de l’amor mio; però ti leva, E sotto questo verdeggiante lauro, Ch’Ottinio già piantò, quel gran pastore, At[t]entamente ascolta.

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Coridone Eccomi attento. 165 Poiché di dir t’aggrada, altro diletto / [34r] Non ho che di mirar la tua bellezza, E d’udir l’armonia de la tua voce. Talia

Tu sai, Coridon mio, che di Diana Noi del paese oggi facciam la festa, E sai quanto ella sia d’Amor nemica. Io ch’ho le forze a’ suoi precetti frali E sì contrarie, temo assai di lei, E ’l timor cresce in così fatto giorno.

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Partenia, A Pastoral Play 163 Talia

I realized this when you first spoke.

Coridone Alas, you break my heart. Talia

I shall say no more about it then.

Coridone If you want to tell me the reason, allow me first to thank you with due humility for the precious and gracious gift that you once gave me, and which you now bestow upon me again.

Talia

I can restore nothing to you, for I never took anything away after I gave you my love as a gift. So rise now,79 and under this verdant laurel tree, which the great shepherd Ottinio planted long ago, listen carefully to my tale.

Coridone I am all attention. Since you wish to speak, I have no greater delight / [34r] than to gaze upon your beauty and to hear the sweet harmony of your voice.

Talia

You know, my dear Coridone, that in this region we celebrate the festival of Diana today, and you know how much this goddess detests Love. Since I am so weak and unable to uphold her rules, I fear her greatly, and my dread increases on this

164 Partenia, favola pastorale

Ch’al fine è Dea, e Dea di questo loco, 175 E chi gli Dei non teme, essi temere Si fanno a forza di castighi atroci. Ond’io per riverenza de la Dea Di là da questo colle appresso il fiume, Ove non guida mai pastor sua greggia, 180 E sol vi stanza in umile capanna L’antica e saggia Antiniana, andai, La qual sol di pensier casti e celesti Nutre le stanche membra; e quivi seco Mi sono stata tutto il giorno intiero, 185 E la notte seguente, da lei sempre Amaestrata nel timor del cielo. / [34v] Da lei poi mi partì, fattosi giorno, Per andarmene al tempio, e ritrovai Partenia, quella scioccalxxix ch’essortare 190 Voleami a non amarti. Io che conosco Che questo sol potriano far gli Dei, E non semplice donna, mi turbai, Né volsi andare a la gran festa seco. Lasciai ch’ella v’andasse, pur pensando 195 D’andarvi anch’io; e mentre ch’io mi fermo Per darle tempo che da me lontana Alquanto si facesse, un pastor vidi In questo loco a punto che piangendo Avria per la pietà spezzati i sassi. 200 Io, che son donna al fin come son l’altre, A lui men’ vado curiosa e presta, E la cagion del suo dolor li chieggio. Egli non men cortese che dolente, La morte mi narrò de la sua ninfa, 205 Ch’a te poi narrerò con più bel[l]’agio. Basta che per pietà io piansi seco,lxxx Ma più quando al sepolcro ei mi condusse, / [35r] Pensando d’arrivare a tempo ancora De la gran festa, ma passato il veggio. 210

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particular day.80 For, when all is done, she is a goddess—and the goddess of this place, and the gods inflict terrible punishments on those who do not fear them to make them obey. So out of reverence for Diana, I went beyond this hill down by the river, where shepherds never lead their flocks, to the humble hut of the wise, old Antiniana. She dwells alone there, nurturing her weary limbs only with chaste and holy thoughts.81 I spent the entire day with her there and the following night, being instructed by her in the awe of heaven. / [34v] At dawn, I left her to make my way to the temple and I found Partenia again, that foolish nymph who wanted to persuade me not to love you. Though I know that only the gods could do that and not a mere woman, I was worried and decided not to go to the great festival with her. I left her to go there, thinking that I would join her later. But while I tarried82 to give her time to get some distance from me, I saw a shepherd here in this very place, whose weeping would have shattered the rocks out of pity. Like other women I am naturally curious, so I went to him quickly and asked him the cause of his sorrow. No less courteous than sorrowful, he told me about the death of his nymph, which I will tell you about later at more leisure.83 Suffice it to say that I wept with him out of pity, but even more when he led me to the tomb. / [35r] I thought that I would still arrive in time for the great festival, but I see it is over.

166 Partenia, favola pastorale Coridone Infelice pastor. La morte sola Infelice può far i veri amanti. Talia Certo, a pensar di lui l’affanno e ’l duolo, Parmi di non potere esser più lieta. Coridone A questo non pensar, cara Talia, Se punto m’ami; ma la morte dimmi Di questa ninfa.

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Talia Or non ci veggio il tempo. Ti dirò sol, che là sopra quel colle Andai con seco, e nel calare al basso Da l’altra parte, ove un sentier guidava 220 Fra certi arbori antichi a mezo il colle, Ch’a un gran sasso facean corona intorno. Vidi, chi ’l crederia? Coridon mio, Nutrirsi in fredo ghiaccio ardente foco. Vidi Lice il pastor, c’ha così nome, 225 Mirando il sasso impallidir, tremare, E dal petto essalar sospir sì caldi Ch’uscir parean di Mongibello ardente.lxxxi / [35v] Non lagrimava no, che ’l gran vapore Ch’uscia dal cor s’unì tra gli occhi e ’l core, 230 E densa nube ne divenne; quale Suol divenir quando maggior virtute Il vapor de la terra in alto leva, Che quanto più cocente, allor più densa Si fa la nube, et al fin poscia quando 235 Scaricar si convien, folgori orrendi, Agghiacciata tempesta, e grandelxxxii pioggia Quà giù ne manda, onde perciò trabocca Ogni fonte, ogni rivo, et ogni fiume;

Partenia, A Pastoral Play 167 Coridone Unhappy shepherd. Only death can make true lovers un­ happy. Talia

Certainly, considering his grief and sorrow I feel that I can never more be happy.

Coridone Do not think of this, dear Talia, if you love me at all; tell me instead about the death of this nymph.

Talia

I do not think there is time now. I will just tell you that I went over that hill with him. When I went down the other side, where a path wound mid-way down the hill between some ancient trees that encircle a large stone, my dear Coridone, I saw—who would believe it—chill ice consumed by a blazing flame. I saw the shepherd, Lice (that is his name), turn pale and tremble while gazing at the stone, and breathe out sighs that were so hot that they seemed to come from fiery Mongibello.84 / [35v] But he did not weep—no, the mass of liquid vapor that escaped from his heart gathered between his eyes and his heart to form a dense cloud. Just as when the sun’s greater power draws up the vapor from the earth, creating a denser cloud the hotter it is, and then finally, when this needs to be emptied, it sends down to earth horrendous lightning flashes, icy hail storms, and torrential rain so that every fountainhead, every bank and river overflows, so too this shepherd

168 Partenia, favola pastorale

Tal ei, che densa nube avea raccolta 240 E conservata fin ch’al sasso giunto Fu, poi con gran sospiri e gran muggiti Spezzossi al fine, e fuor mandò per gli occhi Lagrime tailxxxiii ch’avresti detto: queste Grandine son, non d’uom lagrime o pianto, 245 +> [Alfin poi ch’ebbe in copia grande sparse Lagrime tai, diè loco al duolo al pianto,]lxxxiv Che tanto fu, ch’avresti detto il sasso Sen’ va notando in mezo a un fonte vivo.

Coridone Ma che facesti tu, vedendo il pianto 250 De l’infelice e misero pastore? / [36r] Talia Non ti venga pensier di dirmi s’io Col mio pianto acresceva acqua al suo fonte, Che certo un fiume ei si potea chiamare, Che ben lo puoi pensar senza ch’io ’l dica, 255 S’hai il giuditio sano. Coridone Or segui pure. Talia Com’ebbe dal dolor e dai sospiri Tanto di spatio che potè spirare, A me si volse e disse: “Questo, o ninfa, È il freddo e duro sasso 260 Che la mia fiamma chiude.” Et al sasso rivolto, alquanto ta[c]que, Fatto nellxxxv viso indifferente al sasso. Poi disse: “O fossenlxxxvi pur le forze mie Quali furono al tempo 265 Ch’io miravo gioiendo Le belle e dolci membra,

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—who had similarly accumulated a dense cloud by the time he had reached the tombstone—finally broke down with great sighs and howls, and released such a storm of tears from his eyes that it seemed more like a hailstorm than human weeping. Then finally, when he had shed a great abundance of tears of this kind, his bitter grief gave way to liquid tears, which streamed so copiously that you would have said the stone was swimming in the middle of a living fountain.

Coridone But what did you do on seeing this unhappy and wretched shepherd weeping? / [36r] Talia

There is no need to ask whether I added my tears to the water of his wellspring, which was more like a river. You can well imagine this without me telling you, if your judgment is sound.

Coridone Do please continue. Talia

After he found sufficient respite from his grief to gasp for breath, he turned to me and said, “This, O nymph, is the cold, hard stone that encloses my flame.” And turning back to the tomb, he fell quite silent and looked blankly toward the stone. Then he said, “O ungrateful and unyielding marble, if only my strength were what it was when I used to gaze joyfully at those lovely, sweet limbs that now

170 Partenia, favola pastorale Ch’ora in te chiudi ingrato e duro marmo; Che mal tuo grado gioirei ancora Mirando sue reliquie amate e car[e], Chelxxxvii mi son care quanto / [36v] M’erano insieme aggiunte. O almenlxxxviii qui fosse alcuno atto a levare Il tuo peso sì grave, Perch’io potessi queste membra afflitte Rinchiudere nel loco Ove rinchiusa tieni La miglior parte mia;lxxxix Ch’ivi rinchiuso seco, Forse gioiendo finirei mia vita. Care et amate membra, Sasso crudele e rio, Iniqua e sorda Morte, Perché non vien omai?” E in questo dir, lasciossi andar’ in terra, E per bon spatio mi credei che sorda Stata non fosse Morte. Al fin rivenne. Io lo volsi condur meco da poi Che fu da me di fior, di frondi il sasso Onorato, e d’incenso, e preghi, e lodi, Pensando ch’ei non rimanendo solo, Il dolor forse avria men forza in lui. / [37r] Ma mi diss’ei di non voler partirsi Mai di quel loco ov’ella morta giacce. E mi pregò ch’anzi a la mia partita, Per cortesia, scolpissi di mia mano La dolorosa istoria ivi in un faggio Antico, e grande più degli altri molto. Io con questa medesima saetta Queste notixc medesme v’intagliai: “Questo sasso ch’è qui rozo e gelato Le morte membra d’una ninfa chiude, E di Lice pastor la fiamma e l’alma.”

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you enclose. For then, in spite of you, I would still happily gaze upon my beloved’s dear earthly remains, which are still as dear to me / [36v] as they were when she was with me in body. Ah, if only someone were able to lift your great weight, so that I could enclose these poor limbs of mine in the same place where you keep the best part of me enclosed.85 For if I were entombed with her there, perhaps I would finish my life in happiness. Dear, beloved limbs! Cruel and wicked stone! Unjust and unheeding Death, why do you not come now?” On saying this, he collapsed onto the ground, and for some time I thought that Death had not been deaf to his pleas. Finally, he revived. I wanted to take him away with me, after I had honored the tomb with flowers, boughs, incense, prayers, and praises, since I thought that if he did not remain alone, his sorrow would perhaps hold less sway over him. / [37r] But he told me that he never wanted to leave that place where she lies dead. And before I left, he beseeched me kindly to carve the tragic tale in my own hand on an ancient beech tree, which stood there much taller than the rest. With this very arrow, I inscribed the following words: “This rough and chill stone encloses the lifeless remains of a nymph, together with the amorous flame and soul of the shepherd Lice.”86

172 Partenia, favola pastorale

Gratie mi rese,xci et io ’l lasciai pregando Morte ch’omai più non gli fosse sorda.

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Coridone Infelice pastor, io ben poteva Di te cercar, che mai pensato avrei Che di là fosti gita da quel colle. Ma vo’ ben che la morte tu mi narri Di quella ninfa, e guidimi al sepulcro.

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Talia

Di gratia, ma la morte de la ninfa Ti dirò un’altro giorno, se vorrai.

Coridone Come vorrai, ma dimmi, a che Partenia / [37v] Ti consigliava a non dovermi amare? Talia

Credo perch’ella è sì d΄Amor nemica Che vorria che [g]li fosse ogniun nemico.

Coridone Speroxcii ch’ anch’ella un giorno al suo dispetto Pur’ amar converrà, che se non vince Amor’ o con virtute, o con bellezza, Vince al fin poi per sua vendetta, e nostra Vergogna e danno, con ricchezza, o vero Con altro modo, d’ignominia pieno. E tosto sia che la ricchezza grande Di Leucippo pastor avrà gran forza Di piegarle quel cor sì fiero e duro, Se non potrà l’ardente fiamma sua. Talia

Lo credo anch’io ch’Amor vince ogni cosa.

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He thanked me and I left him praying that Death would no longer be deaf to him.

Coridone Unhappy shepherd! Well might I have searched for you, Talia; I would never have imagined that you had ventured beyond that hill. But now I want you to tell me how that nymph died and lead me to her tomb.

Talia

Gladly, but I will recount the nymph’s death another day if you want.

Coridone As you wish, but tell me, why did Partenia / [37v] advise you not to love me? Talia

I think it is because she is so hostile to Love that she would like everyone to be his enemy.

Coridone I hope that one day Partenia too, despite herself, will be forced to love, for if Love does not conquer by means of virtue or beauty, he does so in the end through vengeance and to our shame and detriment, by means of wealth, or some other disgraceful means. Let the immense wealth of the shepherd Leucippo quickly have the great power to move that most proud and hard heart of hers, if his ardent passion cannot.

Talia

I too believe that Love conquers everything.87

174 Partenia, favola pastorale SCENA SECONDA

Tirsi, Talia, Coridone Tirsi

Com’esser può, che ’l caro mio Leucippo Non possa ritrovar’ in alcun loco? Oimè che tutto mi consumo e st[r]uggo, Poich’io non posso a lui narrar’ il mio Contento, o Deixciii ove potrò trovarlo? / [38r]

330

Talia Questi Tirsi mi pare, e parmi ch’egli Cerchi Leucippo. Coridone Se lo cerca, o bene, So dov’è gito, ma non vo’ già dirlo, 335 Perch’ei cercando gìa la ninfa sua: E se la ritrovasse, poco grato Essergli di costui potria l’arrivo Se ben non gli è nascosto l’amor suo. Tirsi Questi Coridon parmi, e Talia quella, 340 Essi son certo, o lor beati a pieno. Quando sarà che con la mia Partenia Mi ritrovi ancor io? Talia Lieto mi pare Assai più che non suole, andiàngli incontra. Coridone Andiamo.

Partenia, A Pastoral Play 175 SCENE TWO

Tirsi, Talia, Coridone Tirsi [Aside] How can it be that I cannot find my dear Leucippo anywhere? Alas, I am quite tormented and distraught as I cannot tell him of my happiness. O gods,88 where can I find him? / [38r]

Talia [To Coridone] That looks like Tirsi, and he seems to be looking for Leucippo. Coridone [To Talia] If he is looking for Leucippo that is good, for I know where he went. But I will not tell Tirsi just yet, because Leucippo was searching for his nymph, and if he found her, he might not be very pleased about Tirsi’s arrival, although his love for her is no secret.89

Tirsi [Aside] That shepherd looks like Coridone, and the nymph must be Talia. Yes, that is definitely them. O how fully blessed they are. When will I be with my Partenia again?

Talia [To Coridone] He seems happy—much happier than usual, let us go to him. Coridone [To Talia] Yes, let us go.

176 Partenia, favola pastorale Tirsi (Poich’a me vengono incontra, 345 Vo’ chieder loro de l’amico mio, Che forse sanno dov’oraxciv si trova.) Faccian gli Dei l’amor vostro eterno. Coridone Et a te il cielo ogni contento dia. Talia

Ove ne vai così soletto, Tirsi? / [38v] 350

Tirsi

Io vo cercando di Leucippo mio, Saprestemi dir voi dove si trova? Ei mi promise di venir’ al tempio, Ma non ne l’ho veduto, e pur fermato Mi vi son fino al fin de la gran festa. 355

Coridone Hai tu cosa da dirgli che gli apporti Alcuna noia? Tirsi

Il ciel da ciò mi guardi.

Coridone Dicolo perché poco ei n’ha bisogno, Ch’Amor purtroppo lo tormenta e strugge, E la crudel sua ninfa. Ma s’alquanto 360 Ti fermi in questo loco, il vedrai tosto; Che così mi diss’ei quando il lasciai. Tirsi

Qui dunque fermeròmmi ad aspettarlo; Ma quanti giorni son ch’Amor lo strugge?

Partenia, A Pastoral Play 177 Tirsi [Aside] Since they are approaching me, I shall ask them about my friend, for perhaps they know where he is now. [To Talia and Coridone] May the gods make your love eternal.

Coridone And may heaven grant you every happiness. Talia Tirsi

Where are you going all by yourself, Tirsi? / [38v]

I am looking for my friend Leucippo. Can you tell me where he is? He promised me he would come to the temple, but I did not see him, even though I remained there until the end of the great celebration.

Coridone Do you have any news that may trouble him?

Tirsi

Heaven forbid that.

Coridone I only ask because Leucippo has little need of further woes, since Love unfortunately harries and torments him, as does his cruel nymph. But if you wait here for a while you will see him soon; Leucippo himself told me so when I left him.

Tirsi

I will stay here then to wait for him. But for how long has Love been tormenting him?

178 Partenia, favola pastorale Talia

Dunque nol sai? O fingi non saperlo Per tenerlo celato?

Tirsi

365

Io nol so certo.

Coridone Tu sol sei quel pastor tra questi colli, A cui la fiamma sua non è palese? Talia

Crèdilo se ti piace, o Coridone, / [39r] Io per me non lo credo, perché sono 370 Amici di gran tempo, e credo ch’ambo Abbian commune ogni secreto loro: Che durar non potria, se ciò non fosse, Loro amicitia. O com’in grand’errore Son questi amanti così fatti, o Tirsi, 375 Dimmi, crèdesi forse il tuo Leucippo, Che non s’accorga ogniun de l’amor suo? Non vuol che sappian Tirsi e Coridone Quello ch’aperto a tutto il mondo mostra? Così fan quasi tutti gli altri, ond’io 380 Del lor sciocco pensier mi rido e godo.

Tirsi

Io giuro a te per gli alti dei,xcv Talia, Che questo amore a me non è palese, Né mai di ciò m’accorsi. Ma chi è quella Dimmi, ti prego,xcvi ond’ei languisce, e more? 385

Talia

Partenia, quella sì d’Amor nemica.

Tirsi

Oimè, Partenia egli ama? O cielo, o Dei!xcvii

Partenia, A Pastoral Play 179 Talia

Tirsi

Do you really not know? Or are you just pretending, so as to keep this love secret?

I really do not know.

Coridone Are you the only shepherd from these hills who is not aware of his passion? Talia

Tirsi

Talia

Believe this if you like, Coridone. / [39r] I myself do not, for they have been friends for a long time and I think they share their every secret—for their friendship could not last otherwise. Ah, what a grave error secretive lovers of this kind make! O Tirsi, tell me, does your friend Leucippo really believe that nobody notices he is in love? Does he think Tirsi and Coridone do not realize what he manifestly reveals to the whole world? This is what almost all lovers think, and I laugh heartily at their foolish notions.

I swear to you by the highest gods, Talia, that this love is not evident to me, nor did I ever notice it. But pray tell me, who is the nymph for whom he languishes and dies?

Partenia, the one who is so hostile to Love.

Tirsi [Aside] Alas, he loves Partenia! O heaven! O gods!

180 Partenia, favola pastorale Coridone Perché sì ti commovi? A che sospiri? Tirsi

Per la pietate sol del mio Leucippo. Oimè, veggio di lui ben crudo scempio.xcviii / [39v] 390

Coridone Non pianger, Tirsi, perché le ricchezze Forza han di liquefar ogni dur core.xcix Sai quanto ricco il tuo Leucippo sia, Mercè d’Ottinio suo, e quanto sia Fra tutti noi saggio, gentil, e bello. 395 Ond’al fin converrà la crudel ninfa Pietosa divenire, e poi suo padre, Cui ella tanto onora, arde di voglia Ch’ella sia di Leucippo, tal che a pena A lei dirallo ch’egli avrà il suo intento. 400 Talia Lo credo anch’io, che mille volte udito L’ho dir che né la Morte avrebbe forza Di far ch’ella già mai contravenisse Al voler di suo padre. Tirsi Ma Partenia Forse non si credea che ’l padre suo Mai s’opponesse al suo desio sì onesto, Onde per danno di Leucippo, o Dei, Contradir le vorrà, né forse il padre Ardirà di parlargli.c Coridone Anzi ei m’ha detto, / [40r] Poche ore sono su la dritta strada Che guida al tempio, di voler parlarle

405

410

Partenia, A Pastoral Play 181 Coridone Why are you so moved? Why are you sighing? Tirsi

Solely out of compassion for my Leucippo. Alas, I foresee his cruel ruin. / [39v]

Coridone Do not weep, Tirsi, for his wealth has the power to melt every hard heart. You know how wealthy your Leucippo is, thanks to his patron, Ottinio, and how wise, noble-hearted, and handsome he is considered among us. These qualities must in the end make his cruel nymph compassionate. Furthermore, her father—whom she honors greatly—so ardently desires her to be Leucippo’s that as soon as he tells her this he will have his way.

Talia

Tirsi

I believe this too, for I have heard it said countless times that not even Death could ever make her thwart her father’s wishes.

But perhaps Partenia did not imagine that her father would ever oppose her most honest desire for chastity, so she will go against his wishes to the detriment of Leucippo (O gods). Or perhaps her father will not dare to talk to her.

Coridone On the contrary, / [40r] just a few hours ago while Ergasto was walking along the straight path leading to the temple, he said to

182 Partenia, favola pastorale

Di questo tosto che fornita sia La festa, ond’io mi credo che Leucippo Oggi darà a’ crudi suoi martiri Pur fine omai.

Tirsi Il ciel faccia ch’io veggia 415 Quel ch’io desio. Inver Leucippo è degno D’ogni gran bene. E vi credete pure Ch’oggi da fare il matrimonio s’abbia? Coridone Anzi io lo tengo certo. Tirsi Ben mi duole Che manifesto a me non sia mai stato Questo suo amor; ma mi contento al fine Di quel ch’ei vuole.

420

Talia Non è meglio Tirsi Goder l’amico nei contenti? Forse Voluto non avrà dirti il suo duolo Per non fare anco te come lui tristo. 425 Tirsi

Tristo sarò per l’avenir mai sempre Finché mi soverrà che ’l mio Leucippo, / [40v] Mentre ch’era sì tristo, io mi vivea Contento senza alcun fastidio, ahi lasso.

Coridone O quanto deve il tuo Leucippo amarti, Quant’obligo egli t’ha. Felice lui E chiunque ch’aveci un vero amico al mondo.

430

Partenia, A Pastoral Play 183

Tirsi

me that he wished to speak to her of this matter as soon as the ceremony was over, so I think that today Leucippo will finally end his bitter torments.

May heaven grant that I see what I desire. In truth, Leucippo deserves all good fortune. Do you also think that the wedding will take place today?

Coridone I am sure of it. Tirsi

Talia

Tirsi

I am deeply saddened that this love of his was never plain to me. But I shall be happy with whatever he desires.

Is it not preferable, Tirsi, to rejoice in a friend’s happiness? Perhaps Leucippo did not want to tell you of his woes so as to avoid making you unhappy like him.

I will evermore be sad while I remember that / [40v] I lived happily without cares while my Leucippo was so unhappy, ah alas.

Coridone O your Leucippo must love you so much; how obliged he is to you. How fortunate is he—and those like him—to have a true friend in the world.

184 Partenia, favola pastorale Tirsi

Tanto mi de’ Leucippo, quanto io l’amo, Né lo può l’amor mio render felice, S’avanza ben ogni altro. Io ben felice 435 Mi terrei s’ei più me degli altri amasse.

Talia

Tanto è malvagia la natura nostra, Che non conosce alcun l’amico vero Insino a tanto che non l’ha perduto. Poi se nulla gli accade, allor conosce La di[f]ferenza tra i malvagi e i boni.

Tirsi

Piaccia al ciel pur che mi conosca mentre Ch’ei perduto non m’ha.

440

Coridone Sia pur securo Che ’l tuo Leucippo ti conosce e t’ama. Ma tardi è già Talia, se vòi condurmi 445 A quel sepolcro non convien tardare Per poter poscia ritornar di giorno: / [41r] E mentre andremo, accioché faticosa Sia men la strada, mi potrai narrare Tutta l’istoria che già m’hai promesso. 450 Talia

Facciam come tu vòi. cii tu venire, Tirsi con noi, e sentirai narrare Sì lagrimosa istoria ch’a pietate Moveria gli orsi e le più crude tigri?

Tirsi

Io verrei volentier, ma mi conviene Aspettar quinci, over cercare altrove Leucippo mio.

455

Partenia, A Pastoral Play 185 Tirsi

Talia

Tirsi

Leucippo owes me no more than the measure of my love for him; and my love cannot make him happy, though it far surpasses every other. I would consider myself most fortunate if he loved me more than all others.

Our nature is so wicked that no one recognizes a true friend until he has lost him. If no misfortune occurs, he will discover the difference between good and bad friends later.

Let heaven then grant that he recognizes me before he loses me.

Coridone Have faith; your Leucippo knows and loves you. [To Talia] But it is getting late now, Talia. If you want to take me to that tomb we must not delay so that we can return during daylight. / [41r] And to make the journey less wearisome while we are walking, you could tell me the whole story that you already promised me.

Talia

Tirsi

Let us do as you wish. [To Tirsi] Do you want to come with us, Tirsi? You will hear such a doleful tale that it would move even bears and the fiercest tigers to pity.

I would gladly come, but I must wait here or otherwise look elsewhere for my Leucippo.

186 Partenia, favola pastorale Talia Dunque ti lasciaremo. Coridone Resta e sta lieto pur ch’oggi felice Sarà Leucippo a pieno, a dio. Tirsi A dio.

SCENA TERZA

Tirsi solociii [Tirsi] Et io il più infelice e più scontento 460 Uomo ch’al mondo in alcun tempo fosse. Crudel fortuna, povertà odiosa, Iniquo fato mio, amico ingrato. Oimè Leucippo, dunque m’astringesti, Per le severe leggi d’amicitia, 465 A dirti l’amor mio, per far che poi / [41v] Fosse Partenia tua? Ahi finto amico Anzi nemico fiero. Dovevi pur, quando il mio amor udisti, Uccidermi più tosto, 470 Ché saresti men stato iniquo e crudo Di quel ch’ora mi sei. Ahi scelerato, dunque avrai colei Fra le tue braccia che per giuramento Dev’esser mia? Oimè, Partenia, oimè. 475 Godrà tue belle membra un traditore, Perch’è di me più ricco? O ciel come ’l comporti?

Partenia, A Pastoral Play 187 Talia

Then we will leave you.

Coridone Stay then, and be glad that today Leucippo will be filled with happiness. Farewell! Tirsi Farewell!

SCENE THREE

Tirsi alone Tirsi

I am the most unhappy and miserable man that ever existed in this world. O cruel fortune! Loathsome poverty! Unjust fate of mine! Ungrateful friend! Alas, Leucippo, did you constrain me using the strict laws of friendship to reveal my love to you and then make / [41v] Partenia your own? Ah, my treacherous friend, or should I say bitter enemy? You should rather have killed me when you heard whom I love; then you would have been less vicious and cruel than you are to me now. Ah, wicked man, will you then hold in your arms the nymph who by oath should be mine? Alas, Partenia, alas. Will a traitor delight in your lovely limbs, because he is richer than I am? O heaven, how can you tolerate this?

188 Partenia, favola pastorale Qual giustitia è là su tra voi, o Dei? Oimè, che forse a torto 480 Mi querelo di lui, fors’ egli amava Partenia di me prima, ond’io sarei, Se questo fosse, il traditor, l’iniquo. Oimè, ma come? S’ei non mi scoverse Mai la sua fiamma, né me n’avidi io? 485 Ma in ogni modo ancora Quando ciò vero fosse, empio m’è stato / [42r] A non scoprirmi il tutto, Che per suo pro con me medesmo usato Avrei gran forza di non mai amare 490 Colei ch’egli ama: e pur se ’l mio destino Avesse adoperato ch’io l’amassi, Almeno io non avrei Dato a la speme loco, Né menociv ella avria fatto il giuramento. 495 Dunque Leucippo era obligato a dirmi L’ardente fiamma sua? Qual legge lo comanda? Nessuna certo, se ben ei m’astrinse A dirgli il mio sotto la legge stretta 500 De l’amicitia vera, a me dicendo Che convien ch’ogni cosa sia commune. Ogni cosa convien fuor che l’amore, Il qual non obedisce a legge alcuna. Stolto son stato, ch’ho voluto fare 505 Commune anco a l’amico l’amor mio; E ne le pene ei poi commun l’ha fatto, Ma commun non sarà già ne le gioie. / [42v] Oimè, potran veder questi occhi miei Partenia di Leucippo? E tu Partenia 510 Consentirai ch’ei t’abbia? Il giuramento romperai, crudele? Sì che ’l farai crudele, Et io lo credo, ahi lasso, Tanto ho contrario il cielo: 515

Partenia, A Pastoral Play 189





What justice exists on high among you, O gods? But alas, perhaps I am wrong to complain of him? Perhaps he loved Partenia before I did, in which case, were it true, I would be the iniquitous traitor. But, alas, how could this be, if he never revealed his flame to me, and I did not recognize it? Yet, even if this were true, he wronged me / [42r] by not disclosing everything to me, because for his benefit I would have forced myself with great restraint never to love the nymph that he loves. And even if my destiny had determined that I was to love her, at least I would not have entertained any hope, nor would she have made the vow. But was Leucippo really obliged to tell me of his burning desire? What law commands it? None to be sure, though he pressed me to tell him of my love by citing the strict law of true friendship, telling me that everything must be shared—everything, that is, except for love, which obeys no laws. I was a fool in wanting to share my love with my friend. And now he has caused its suffering to be shared too, but never will its joys be shared. / [42v] Alas, can these eyes of mine ever bear to see Partenia made Leucippo’s? And you, Partenia, will you allow him to have you? Will you cruelly break the vow? Ah, you will, pitiless nymph, I do believe so, alas, as heaven so conspires against me.

190 Partenia, favola pastorale E credo ancor che mentre, oimè, laudava Le tue bellezze a l’infedel Leucippo, Allor se n’accendesse, E pria non vi pensasse: Che se prima di te si fosse acceso, 520 Visto l’avrei, che non si cela amore. Ahicv mondo iniquo e falso, Del tutto è cieco chi in te pon sua speme, Poiché pietate è morta, E fraudolenti son gli amici e ingrati, 525 Né regna in te chi non inganna o sforza. Ahicvi che far deggio, lasso? Oimè che come Forsennato n’andrò per piagge e monti Fra i più silvestri e i più deserti luoghi, / [43r] Fra le tigri e i leon, gli orsi e i serpenti, 530 Che se ben fere son, mostrano almeno, Mostran lor ferità sc[o]perta a tutti: E tanto griderò che questa fascia Squarcieranno mortal, piena d’affanni: E così fine avran miei guai. Ec. ahi. 535 cvii Eco pur piange del duol mio. Ec. io. Quella nei boschi più non tornò. Ec. no. Ned è per cui moro colei. Ec. lei. Crudel ho lei né piange meco. Ec. eco. Ch’eri a me pia tu sol m’accorsi. Ec. orsi. 540 E pietà ancor di me gli orsi hanno. Ec. hanno. Dimmi ritroveròne altrove? Ec. ove? Tra gli alti Dei del cielo almeno. Ec. meno. Né troverò tra i rei col morire. Ec. ire. Ire non rie com’è ’l mio scempio. Ec. empio. 545 Empio ben son, ahicviii non guardate, o Dei Al grav’error ch’ho contra voi commesso. So che se vinto dal dolor voleva Pur lamentarmi, sol dovea di lui Ch’offeso m’ha, e non di voi, e credo / [43v] 550 Che pietate e giust[it]ia è sol tra voi, E non giù ne l’inferno.

Partenia, A Pastoral Play 191

Alas, I also believe that the faithless Leucippo became enflamed by your beauty while I was praising it, and that he did not consider it before. Because if he had been in love with you earlier, I would have seen it, for love cannot be hidden. Ah, wicked and deceptive world, whoever places hope in you must be quite blind, since compassion is dead and friends are treacherous and ungrateful. Only those who practice deceit and force have power in you. Alas, what should I do? Ah me, like a madman I shall wander through the wildest lands and mountains, and the most deserted places, / [43r] among tigers, lions, bears, and serpents—wild beasts that at least show their ferocity manifestly to all. There I will scream so loudly that they tear apart this tormented mortal flesh, And so will end my woe. Echo: Oh90 Echo also weeps at this grief of mine Echo: I Return to the woods she did not . Echo: Not The reason for which I die is not her. Echo: Her I consider her cruel, nor does she weep with me. Echo: Me I saw that you alone your pity laid bare Echo: Bear And for me even the bears weep. Echo: Weep Tell me, will I find this pity elsewhere? Echo: Where? Among the other gods of heaven at least. Echo: Least Not through dying, among the wicked, I will wage Echo: Rage Rage is not wicked like my ruin that’s bad. Echo: Bad. I am indeed bad. Ah, do not look, O gods, upon the grave error that I have committed against you. I know that if I wanted to complain of my overwhelming sorrow, I should have done so only with respect to the mortal who has offended me and not all the gods; for I believe / [43v] that true compassion and justice are only found among you, and not down in hell.

192 Partenia, favola pastorale

E forse ancor ch’io mi lamento a torto Del mio Leucippo, forse Coridone E Talia sua non m’avran detto il vero, 555 Pensandosi spezzare il caro nodo De la nostra amicitia, ma non sanno Essi, ch’io creda, ch’io Partenia adori. Oimè, mi credo che non sia palese Ad altri l’amor mio fuor che acix Leucippo, 560 E forse ogniuno il sa, perché Amor vuole Che come lui sian ciechi i servi suoi. Ma perché creder voglio ch’in costoro Sia rio pensier, come saria volendo Scioglier la cara e lunga amistà nostra? 565 Vo’ creder che più tosto l’abbian fatto Per burlarsi di me, o per vedere Qual può più in me, o l’amistà o l’amore. Oimè, Leucippo, s’egli è ver che ’l falso M’abbiano detto, quanto torto ho fatto 570 r A l’amicitia nostra, quante ingiurie / [44 ] Ho fatto a te da non mi amar più mai? Parmi pur duro il creder che tu m’abbia Così tradito. Ciò creder non voglio Finché accertato non ne sia d’altrui: 575 Né ti vo’ qui aspettar, che forse il duolo E la rabbia crudel, ch’ora ho nel core, Mi farian teco usar cose non degne D’un pastor ch’arda di sì nobil foco.

Partenia, A Pastoral Play 193

But perhaps I unjustly accuse my Leucippo. Perhaps Coridone and his Talia have not told me the truth—thinking they would thereby break the precious knot of our friendship, though to my knowledge, they do not know that I adore Partenia. Alas, I think that my love is hidden to everyone but Leucippo, yet perhaps everyone knows of this, because Love wants his servants to be blind like him.91 But why should I believe that Talia and Coridone want to dissolve our longstanding and precious amity through any kind of evil intention? I shall believe rather that they have done this to tease me, or to see which affection is stronger in me—friendship or love. Alas, Leucippo, if it is true that they have lied to me, how I have wronged our friendship! I have heaped such abuse / [44r] on you that I no longer deserve your love. I still find it hard to believe that you have betrayed me in this way. I do not want to believe this until I have assurance from someone else. I shall not wait here for you, for perhaps the grief and the cruel rage that now fill my heart would make me do things unworthy of a shepherd who burns with such a noble passion.

194 Partenia, favola pastorale SCENA QUARTA

Partenia sola [Partenia] Dunque sovrana Dea l’intatta e cara 580 Virginitate mia sarà rapita? Io più non ti sarò seguace e serva? Qual bramai cosa mai ch’a compiacermi Non fosse pronto Ergasto il padre mio, Fuor che a serbar la mia virginitate? 585 Deh perché quando prima t’adorai, Non feci voto di serbarmi intatta? Che per timor di te non avrebb’egli Avuto ardir di chiedermi tal cosa. E se pur chiesta me l’avesse, io bene / [44v] 590 Arditamente gli avrei contradetto. Ma poiché questo, lassa, non ho fatto, Convien ch’ sia signor d’ogni mia voglia, Ond’io ad obedirlo, o Dea, son pronta; Che così vole ogni celeste Nume. 595 Il severo castigo io vo’ fuggire, Ch’ai figli iniqui sovrastar suol sempre: Ch’iniquo ben si può chiamar colui Che contende al voler del padre suo. Et è mostro, non uomo, poi ch’egli osa 600 Di contradire a chi gli diè la vita. Con tutto ciò, se ben sì pronte sono Le voglie mie a quelle del mio padre, Un non so che tanto m’affligge il core Che morte bramo. O Dei chi mi tormenta? 605 Che cosa sento in questo petto? Ahi lassa, Ardentissima fiamma mi divora. Porgimi aita, o Dea, porgimi aita. O Giove, o cielo, o padre mio ch’è questocx Che sì mi rode il core? Ahi questo è Cromi. 610 Deh perché non sei tu la più crudele / [45r]

Partenia, A Pastoral Play 195 SCENE FOUR

Partenia alone Partenia Sovereign Goddess, will my intact and precious virginity now be taken from me? Will I no longer follow and serve you? Did I ever desire anything that was not readily granted by my father, Ergasto, other than preserving my virginity? Oh, why, when I adored you before, did I not vow to keep myself intact? Then, for fear of you, he would not have dared to make such a request. And even if he had asked this of me, I could quite / [44v] boldly have opposed him. But alas, since I did not do so, he must be the lord of my every wish, and I am ready to obey him, O Goddess, for every heavenly deity commands this. I want to avoid the severe punishment that normally awaits wicked offspring—anyone who opposes the wishes of their father can be described as such. Offspring of this kind are monstrous and inhuman to dare to oppose the one who gave them life.92 Nevertheless, though I most readily agree to the wishes of my father, an undefined fear so assails my heart that I yearn for death.93 O gods, who is tormenting me? What is it I feel in my breast? Ah, alas, a searing flame devours me.94 Help me, O Goddess, help me! O Jove! O heaven! O father, what is this? What gnaws at my heart so? Alas, I see Cromi. Ah, if only you were the cruelest / [45r]

196 Partenia, favola pastorale

Fera ch’al mondo sia, che volentieri T’aspetterei, acciò che l’ugnacxi e ’l morso Stratiando queste membra afflitte, ardenti, Facesser per usci[r]e a l’alma strada? 615 Ma poi che sol a l’onestate mia Nemico sei, il meglio è ch’io mi fugga Da le tue mani sì rapaci e sozze.

SCENA QUINTA

Cromi solo [Cromi] Avrà Leucippo, vil pastor, per sua Partenia bella? Ahi no’l consenta il cielo. 620 Io mai comporterò che sì vil cosa Sì belle membra tra le braccia stringa? E tu comporterai, Partenia, ch’io Di te mi resti privo? Ah non intero Giuditio tuo, a desiar più tosto 625 Un amante pastor che semideo. Com’esser può ch’una sì bella fascia Un’ alma cinga di bassezza piena? Ahi ch’io mi sdegno pur d’averla amata, Et entra l’odio già dov’era amore: / [45v] 630 E cresce tanto che crudel vendetta Ne farò con Leucippo, et ancor teco, S’io vi posso trovare ambiduo insieme. E ben vi troverò, se non vien meno La forza d’este mie nervose gambe; 635 E trovati ch’io v’abbia, et ambi presi, Legata a [un]cxii tronco di mia man, vedrai Del tuo amante pastore il petto aperto, Et ogni mio voler di te adempito.

Partenia, A Pastoral Play 197



beast in this world! Were you so, I would gladly wait for you, so that you could tear up my afflicted burning body with tooth and claw, and allow my soul to depart from it. But since you are an enemy only to my chastity, it is better that I flee from your vile clutches.

SCENE FIVE

Cromi alone Cromi Shall Leucippo, a lowly shepherd, have the beautiful Partenia for himself? Ah, heaven forbid this! Shall I ever allow such a base creature to clasp such beautiful limbs in his arms? And you, Partenia, will you allow me to be deprived of you? Ah, it shows your poor judgment if you desire a shepherd rather than a demigod for your lover. How can such a beautiful body hold so base a soul? Ah, now I even hate myself for having loved her and my former love is turned to loathing. / [45v] This feeling grows so rapidly that I will have cruel vengeance on Leucippo as well as on you, if I can ever find you both together. Indeed, I will find you, if the strength of these vigorous legs of mine does not fade. And once I have found and captured you both, you will be tied to a tree trunk, Partenia, and you will see me tear open the breast of your shepherd lover and satisfy all my desire for you.

198 Partenia, favola pastorale

Nel più deserto luogo, u’ non alberga 640 Altro che tigri e velenose serpi, Leon feroci e rapacissimi orsi, Lascierotti legata a un duro tronco Di quelle fere in preda, e sbranerànti, Qual la tua crudeltà merta e l’orgoglio. 645 Ma che più indugio qui, che non vi cerco? Su, su miei piedi a ricercar di loro, Su, su mio cor, mie mani a la vendetta! Il fine del Terzo Atto

ATTO QUARTO SCENA PRIMA / [46r]

Elpino solo [Elpino] Qual’ uomo più felice e fortunato Oggicxiii vive nel mondo del mio Ergasto? Qual donna onesta più, più bella e saggia Di Partenia sua figlia? Il ciel lor sia Mai sempre più cortese e più benigno; 5 E prole a lei conceda tal che sia Di sua prudentia e del valor suo degna. Ecco Leucippo. Vo’ tra questi rami Nascondermi et udir quel ch’ei ragiona.

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Then I will leave you—in the most deserted place, where only tigers, venomous serpents, ferocious lions, and the hungriest bears dwell—tied to a sturdy trunk as prey for those beasts, which will tear you to pieces as befits your cruelty and pride. But what am I doing lingering on here and not searching for you both? Make haste my nimble feet to seek them out! Prepare yourselves my heart and hands for vengeance!

End of Act Three

ACT FOUR SCENE ONE / [46 r]

Elpino alone Elpino What man could ever be happier and more fortunate than my dear Ergasto? What woman is more virtuous, more beautiful and wise than his daughter, Partenia? May heaven look ever more kindly and generously upon them, and bestow offspring upon her that are worthy of her prudence and merit. Here comes Leucippo. I shall hide among these branches to listen to what he is saying.

200 Partenia, favola pastorale SCENA SECONDA

Leucippo, Elpino [Leucippo] O ciel soccori omai al più infelice 10 Amante ch’or si trovi in terra vivo. Ahi mia Partenia, oimè dov’cxiv ora sei? O Amore, a questo modo i servi tuoi Tratti? Deh per pietà non mi celare La dolce vista di colei, per cui 15 Mi fu da la tua mano aperto il core, Altramente, signor, mia vita è corta: Ché senza il caro, e dolce, amato obietto / [46v] Non avrò vita. Né la voglio avere, E temo morte; ché ’l cor pur mi dice 20 cxv Ch’altri, non io, sarà di lei padrone. E pur non bramo già di goder lei Come fan gli altri, ma per esser solo Compagno suo, e tu il sai bene, Amore, Anzi suo servo, et ella sia mia Diva. 25 Elpino Non può soffrimi il cor ch’ei più si dolga. Leucippo Elpino è questi, ch’a me viene incontra; D’Ergasto amico. Che vuol dirmi, lasso?cxvi Elpino Felice a pien ti faccia il ciel, Leucippo. Che è di te?cxvii Sei così turbato in vista?

30

Leucippo E te faccia beato, Elpino mio. Turbato sono, e n’è cagion la sorte, Ch’ad amare e bramar cosa m’induce,

Partenia, A Pastoral Play 201 SCENE TWO

Leucippo, Elpino Leucippo [Aside] O heaven, help the most unhappy lover alive on earth. Ah, my Partenia, alas where are you now? O Love, is this how you treat your servants? Alas, for pity’s sake, do not hide from me the sweet countenance of the one for whom you opened my heart by your hand. Otherwise, my lord, my life will be short: for without the precious and sweet object of my love / [46v] I cannot live, nor do I wish to. I fear I shall die, for my heart tells me that someone else, and not I, will be her master.95 And yet I do not desire to enjoy her as others do, but only to be her companion—as well you know, Love—or, rather, her servant and for her to be my goddess.

Elpino [Aside] My heart cannot endure his lamentations any longer. Leucippo [Aside] That is Elpino, Ergasto’s friend, coming toward me. Alas, what does he want to say to me? Elpino May heaven fill you with happiness, Leucippo. What has become of you? You look so troubled. Leucippo Heaven bless you, Elpino. Fate has so distressed me. It makes me love and yearn for something that, alas, I am so wholly

202 Partenia, favola pastorale

Che tanto sono, oimè, d’averla indegno, Che nulla speme nel mio petto alberga.cxviii

Elpino

Un pastor come te, giovane, e bello, E saggio, e ricco, disperar si deve Così vilmente? Deh se m’ami, dimmi S’è cagion del tuo duol l’amor che porti / [47r] A la bella Partenia, perché forse 40 Io potrei consolarti.

35

Leucippo Che altro ha forza Di potermi bear se non Partenia? Ma temo ch’anzi mi farà infelice, Perché un pensier sempre mi dice in core: Far non può il ciel che sia Partenia tua. 45 Elpino

Quand’anco, figlio mio, volesse il cielo Che Partenia non tua ma d’altrui fosse, Che far vor[r]esti? Al fin ti converria Contentarti di quel che piace a Dio.cxix

Leucippo Piaccia agli Dei checxx non sia, ch’allora 50 Ogniun vedria quant’io l’amava in vita. Elpino Morir vorresti dunque? Leucippo Si, per certo; Ché senza lei vita non voglio, Elpino.

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unworthy of gaining that I harbor no hope in my breast.

Elpino How can a shepherd like you, who is young, handsome, wise, and rich, be prey to such ignoble despair? Ah, if you love me, tell me if the cause of your grief is the love that you bear / [47r] for the fair Partenia, because I could perhaps console you.

Leucippo What else besides Partenia has the power to make me blessed? But I fear that she instead will make me unhappy, because my heart is constantly assailed by the thought that Heaven cannot make Partenia mine.96

Elpino My dear young man, even if heaven wished Partenia not to be yours, but someone else’s, what would you do about it? In the end, you would have to be content with what God wills.

Leucippo Let the gods not will this, for then everyone would see how much I loved her while I lived. Elpino Would you wish to die in that case? Leucippo Yes, certainly, for I do not want to live without her, Elpino.

204 Partenia, favola pastorale Elpino E se tu avessi lei, beato a pieno Ti troveresti? Leucippo Mille, e mille volte 55 Sarei beato. Elpino Or s’a te qui venisse / [47v] Qualch’un che proprio ti dicesse: “Ergasto Si contenta che tua sia la sua figlia”, Non vorresti gran ben, dimmi, a costui? Leucippo Più ch’a la vita mia. Ma Elpin, più tema Ho ch’a le voglie mie contraria sia Assai la figlia più che ’l saggio Ergasto.

60

Elpino E se costui pur ti dicessecxxi ancora Che la figliuola pur se ne contenta; Ch’amor li mostreresti? Leucippo Io l’amerei 65 A par de l’alma mia, e del mio gregge Come son’ io vorrei fosse padrone. Elpino Orsù, Leucippo, al par de la tua vita, E de l’anima tua vo’ che tu m’ami; Ma non voglio esser già del tuo padron.cxxii 70 Io colui son ch’a te novella certa Porto, che tua sarà la saggia e bella Partenia pria ch’asconda i suoi bei raggi Il sole a noi.

Partenia, A Pastoral Play 205 Elpino And if you were to have her, would you feel fully blessed?

Leucippo I would feel supremely blessed.

Elpino So if someone came up to you now / [47v] and said these precise words to you: “Ergasto will gladly make his daughter yours,” then tell me, would this person be very dear to you?

Leucippo More than my life. But Elpino, I fear that his daughter would oppose my wishes far more strongly than wise Ergasto.

Elpino And if this person also told you that even his daughter is happy with this, how much would you then love this person?

Leucippo I would love this person as much as my soul, and I would want him to be in charge of my flocks with me.

Elpino Now, Leucippo, you must love me as much as your own life and soul, but I do not want to be the master of your flock. I am the person who brings you certain news that the prudent and lovely Partenia will be yours before the sun hides its beautiful rays from us.

206 Partenia, favola pastorale Leucippo Partenia sarà mia? O benigna fortuna, o cielo, o deicxxiii / [48r] 75 A me cortesi tanto, Elpino mio, O me felice, o me beato in terra. Oimè che tu mi burli, Elpino mio. Elpino

Ti giuro figlio, ch’io ti dico il vero, Et a te vengo per comandamento 80 D’Ergasto, che la bella figlia sua Si contenta sia tua, et a sue voglie Ella pronta si trova; et io presente Mi ritrovai quando ei di ciò parlolle.

Leucippo Qual render potrò mai gratia agli Dei 85 Del dono ch’or da lor mi vien concesso? Et a te caro Elpin, qual cosa mai Render, lasso, potrò ch’agguagli questa Novella tanto cara ch’or mi porti? Ma dimmi, come puot’esser già mai 90 Partenia si contenti d’esser mia? Elpino

Leucippo, tanto saggia quanto bella Si ritrova Partenia, e tu beato Sarai, se può chiamarsi un’uom beato Che goda bella donna accorta e saggia, 95 v Poich’una avrai ch’al mondo non ha pari. / [48 ] Oggi mi ricondusse Ergasto seco Al tempio di Diana, ov’è la festa, Per parlare a la figlia di te poi Ch’ella finita fosse; ma tardammo 100 Tanto che quasi era finita, et ella Era partita già. Noi ci fermammo Alquanto quivi a venerar la Dea,

Partenia, A Pastoral Play 207 Leucippo Partenia be mine? O kind fortune! O heaven! O gods / [48r] you are so courteous to me. My dear Elpino, oh how happy I am! how blessed I am on earth! But, alas, you jest with me, Elpino. Elpino I swear to you, son, that I am telling you the truth, that I come to you at Ergasto’s order, and that his beautiful daughter agrees to be yours and is willing to obey his wishes. I was present when he spoke to her about it.

Leucippo How can I ever thank the gods enough for the gift that they have now granted me? And, alas, dear Elpino, how can I ever adequately repay you for this most precious news you now bring me? But tell me, how ever can it be that Partenia is willing to be mine?

Elpino Leucippo, Partenia is as prudent as she is lovely, and you will be blessed, if a man can be called blessed for possessing a beautiful, wise, and judicious woman, since you will have one who is peerless in this world. / [48v] Today Ergasto took me with him to the temple of Diana, where the festival is held, to speak to his daughter about you after it was over. But we were so late that it had nearly finished and she had already left. We waited there for a while to worship the goddess.

208 Partenia, favola pastorale

Poi ci partimmo et a cercar l’andammo, E su la strada la trovammo a punto 105 Ove questo sentier vassi a finire. Ella era tutta tutta sbigottita Per aver visto Cromi, che di lei Arde d’amor; ma tosto che ne vide, Lieta divenne. Ergasto a sé chiamolla, 110 E prèsala per man le disse: “Figlia, Sai quanto al tuo voler sempre fui pronto, E credi pur che tal’io sarò sempre, Veggendoti sì saggia e sì prudente.” A questo dir, tinse le guancie, e gli occhi 115 Vergognosetti inchinò tosto a terra. Egli seguendo disse: “Or se sei stata / [49r] Fin qui sempre inchinata al voler mio, Voglio che segui ancor. Ti prego adunque, Per l’amor che mi porti ad adempire 120 Una mia voglia sola.” Et ella al[l]ora Rispose: “Padre mio, pronta io sono Ad ogni tuo voler; comanda pure Se ben volessi che con questa mano M’aprissi il petto, che ’l dovero è bene 125 Che le mie voglie le tue proprie siano. Prudente non son già, ma l’amor grande Che tu mi porti tal mi fa parerti. Mi sforzerò ben sempre di mostrare Al mondo ch’io non sia tua figlia indegna. 130 cxxiv Mi dolgo sol che tu mi preghi, dove Comandar mi dovresti; e duolmi ch’io Da te tenuta son più tosto pronta Ai preghi tuoi che ai tuoi comandamenti, Ché in me non fu già mai pensier sì rio. 135 Però ti prego quanto so che m’ami A non sottrarmi dal paterno giogo. Comanda pure, e senza comandarmi / [49v] Fa di me ciò che più t’aggrada e piace.”

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Then we left and went in search of Partenia. We found her on the road just at the point where this path comes to an end. She was utterly distraught at having seen Cromi, who burns with passion for her. But as soon as she saw us, she grew cheerful. Ergasto called her to him and, after taking her by the hand, said to her, “Daughter, you know how readily I have always agreed to your wishes—and be assured that I always will do, as you are so wise and prudent.” At these words, a blush rose to her cheeks and quickly she lowered her modest gaze. He went on, “As you have / [49r] until now always bowed to my wishes, I want you to continue to do so. I beg you, therefore, as a mark of the love you bear me, to fulfill a single wish of mine.” She then replied, “My father, I am ready to comply with your every desire. Just give the word—ask me even to tear open my breast by my own hand, if you want—for it is rightly my duty to agree to your every wish. I am not really prudent, it is your great love for me that makes you think so. I will indeed force myself always to show the world that I am not an unworthy daughter. It just pains me that you beg when you should command me. And it grieves me that you think I will more readily heed your supplications than your orders, for I never had such wicked thoughts. I therefore beg you, with the same force as the love I know you bear me, not to free me from the paternal yoke: just command me, and even without ordering me, / [49v] do with me whatever best suits and pleases you.”

210 Partenia, favola pastorale Leucippo O saggia figlia, o me beato, o Dei 140 Io dunque degno son, vostra mercede, Di goder donna a voi tanto simile? Ma segui, Elpino mio. Elpino Ergasto allora Fra le paterne braccia la raccolse, E la fronte di neve, a cui dolc’ombra Fan crespi crini d’or negletti ad arte, Caramente bacciò dicendo: “O figlia Tanto a me cara. Vo’ che sappi ch’io Bramo innanzi al mio fin compagno darti Degno di te perch’io men doglia senta Nel morir mio, non ti lasciando sola Al mondo, pien di tradimenti e danni. Un giovane tra noi si trova bello, Prudente e saggio, e ricco, et è più ricco Di tutti gli altri, il qual di casto amore Arde per te, bramando ch’io consenta, Che sia tuo sposo. Io che non ho pensiero Come molti hanno, che le figlie loro / [50r] Vogliono maritar, benché sian vili, A persone di scettro, e lascian spesso Occasion che poi non torna mai, Ho pensato che quando ti contenti, Leucippo, che così costui si noma, Sia tuo marito.” A questo il suo bel viso Un’altra volta in bel vermiglio tinse. Poi disse: “Adunque io non potrò serbare La tanto cara mia virginitate? Ma se ben n’ho gran duol, vo’ che s’adempia Padre la voglia tua. Pur se ti move Sol la temenza di lasciarmi sola Dopo la morte tua, ciò non ti prema Ché chi non ha per sé cura terrena

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Partenia, A Pastoral Play 211 Leucippo O wise daughter! O how blessed I am! O gods! Am I really worthy, with your grace, of possessing a woman so like you? Please go on, my dear Elpino.

Elpino Ergasto then embraced her paternally in his arms and tenderly kissed her snow-white forehead, which is artfully adorned by stray golden curls, saying, “O my dearest daughter, I want you to know that before my demise I wish to provide you with a worthy companion. My death will be less painful to me if I do not leave you alone in this world, which is so full of treachery and danger. There is a young man who lives close by who is handsome, prudent, wise, and wealthy—wealthier than all others—who burns for you with chaste love and wishes me to allow him to be your spouse. I am not like many others who want to marry their daughters, / [50r] though they may be of low birth, to men of high status, which often makes them lose opportunities that never return. So I thought that if Leucippo is agreeable to you—for that is his name— he shall be your husband.” At this, her fair face once again flushed a lovely crimson. Then she said, “Will I therefore not be able to preserve my virginity that is so precious to me? Though I lament this greatly, I still want your wish to be fulfilled, father. Yet if you are moved only by the fear of leaving me alone after your death, do not let this trouble you, for anyone who lacks protection on earth

212 Partenia, favola pastorale

La ritrova celeste. Ma se ’l fai Perché sia voglia tua, io son tua figlia, +> [Tu fatta m’hai, e per te sono al mondo,]cxxv 175 Ond’è ragion ch’io le tue voglie adempia. Né convien che mi dica che ’l pastore Sia gentile, e leggiadro, e saggio, e bello Poich’io non so qual cosa ad esser bello Over leggiadro ad uom convenga, ch’io / [50v] 180 Altr’uom non mai mirai che te mio padre. De le ricchezze poi, tu pur m’hai detto Mille volte ch’egli è virtù sprezzarle. Ben mi godrò ch’ei sia prudente e saggio, Ma qual prudentia un giovane può avere?” 185 “Figlia”, rispose Ergasto, “a me ti prego Credi ch’egli è prudente; e s’io t’ ho detto Ch’egli è virtute aver l’oro in disprezzo, È ver, quando per oro o per ricchezze Altri fa cosa disonesta e brutta: 190 Ma s’aman per servirsene in onore Degli Dei, di se stesso, e degli amici. Se poi non sai che s’appartenga a l’uomo Per essere gentil, leggiadro, e bello, Lo saprai mentre mirrerai Leucippo.” 195 “Sia pur come si voglia”, ella rispose, “Di ciò poco mi cal, purché adempito Sia il tuo voler.” E soggiungendo Ergasto: “Sian benedette”, disse, “le fatiche, Ch’ho per te fatte, col sudor ch’ho sparso, 200 E benedetta sia tu, figlia cara / [51r] Dai sommi Dei. Or se ti piace, Elpino Manderò da Leucippo, acioché tosto Si facciano le nozze; et ella allora: “Fa pur com’ a te par, mio padre”, disse. 205 Ond’ei m’impose allora, ch’io cercassi Di te, per dirti il tutto, e sì benigno Il ciel mi fu ch’io ti trovai ben tosto.

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will find it in heaven. However, if you ask this of me because it is your desire, the fact that I am your daughter—you have made me, and I am in the world because of you—means that it is right that I fulfill your wishes. There is no need to tell me that the shepherd is noble-hearted, pleasing in appearance, wise, and handsome, because I do not know what it means for a man to be handsome or pleasing, for I / [50v] never beheld any other man except you, my father.97 As for riches, you yourself have told me endless times that it is a virtue to scorn them. I will certainly be happy that he is prudent and wise, but what prudence can a young man have?” “My daughter,” replied Ergasto, “I beg you to believe me that he is prudent. And if I have told you that it is a virtue to despise riches, this is true when people do dishonest and foul things for gold or worldly goods. But one should love wealth for its use in honoring the gods, oneself, and one’s friends. If at present you do not know what it means for a man to be kind, fair, and handsome, you will know when you behold Leucippo.” “Let it be as you wish,” she responded, “I care little about this, as long as your will be done.”98 And Ergasto then added, “Blessed are the labors,” he said, “that I have undertaken for you and the sweat that I have expended, and blessed are you, dear daughter / [51r] by the highest gods.99 Now if you are agreed, I will send Elpino to Leucippo, so that the marriage can be celebrated soon.” She then said, “Do as you think best, my father.” Whereupon Ergasto enjoined me to search for you to tell you all, and heaven so favored me that I found you very quickly.

214 Partenia, favola pastorale Leucippo O fortunato che tu sei Leucippo! Or che far deggio, caro Elpino mio?

210

Elpino Io non so ch’altro dirti, perché Ergastocxxvi Non mi diss’altro. Leucippo Non vuoi tu, ch’andiamo A ritrovar’ Ergasto e la mia ninfa? Elpino

Sì tosto vòi tu andare? È pur bisogno Dar ad Ergasto tempo, a ciò ch’ei possa 215 Proveder a le nozze, et invitare I suoi parenti e i suoi più cari amici.

Leucippo Ciò certo si convien: ma non potrei Venir sol per veder la ninfa mia? Deh, caro Elpin, se ’l ciel ti sia cortese, 220 v Torna ad Ergasto, e fa ch’ei sia contento / [51 ] Ch’io possa questa sera una sol’ora Dolce dimora far in sua capanna, Ch’io portar voglio a la mia ninfa in dono Un bel vaso di terra che fa oltraggio 225 A bel diaspro, e lo mi diede il saggio Ottinio, da un suo servo fabricato Di raro ingegno, in cui guizzare un pesce Si vede natural, non fatto ad arte, Che si scoprì nel fabricarsi il vaso. 230 Et in esso potrà la bella ninfa Ber’ l’a[c]qua dolce de le chiare fonti. Et un candido capro anco vo’ darle Più caro a me de la mia greggia tutta: E prende sol da le mie mani il cibo, 235

Partenia, A Pastoral Play 215 Leucippo Oh how fortunate I am! Now what should I do, my dear Elpino? Elpino I do not know what else to tell you, because Ergasto said nothing more to me. Leucippo Shall we not go to find Ergasto and my nymph?

Elpino You want to go so soon? We need to give Ergasto time, though, to prepare for the wedding and invite his relatives and his dearest friends.

Leucippo That is certainly necessary, but could I not come just to see my nymph? Ah, dear Elpino, if heaven favors you, return to Ergasto and make him agree to let / [51v] me to spend a single, sweet hour this evening in his hut. I wish to bring as a gift for my nymph a lovely, earthenware vase whose beauty surpasses any of jasper.100 It was given to me by the wise Ottinio, made by a craftsman of his of rare genius: it shows a fish leaping that is real and not made by artistry—and was discovered while making the vase. From this vase the lovely nymph can drink the sweet water of the clear streams. I also wish to give her a snow-white goat, which is dearer to me than my whole herd together. It takes food only from my hands

216 Partenia, favola pastorale E sta legato ad una fune attorta Di seta dei color ch’insieme aggiunti Mostrano altezza di pensier, già fatta Da man ben dotta, mentre ardeva Ottinio De l’amor d’una ninfa ch’a quei giorni 240 Tenuta de le belle era più bella. E m’ama sì, e sì gli è caro il laccio, / [52r] Che s’io lo sciolgo, ei se gli corca appresso E mesto se ne sta, né cibo assaggia Se pria no’l lego, ond’io nel bel collaro 245 In lettre d’oro ho queste note impresse: “Lieto non son fuor di sì caro laccio.” E dar le voglio un vago nastro d’oro Di che si leghi il crine, e faccia il crine Oltraggio a l’oro. Elpino Io per tuo amor, Leucippo, 250 Cosa maggior farei. Tenterò Ergasto, E vedrò di sforzarlo ov’ei negasse. Ma fatto ch’io l’avrò, dove da poi Potrò trovarti? Leucippo Nel[l]’albergo mio Mi troverai. Elpino

Io vado, a dio.

Leucippo A dio. 255 O piaccia al ciel che si contenti Ergasto, Et insieme con lui, Partenia bella, Ch’io vada questa sera a ritrovarli: Che se ciò avien, qual più di me felice / [52v] Sarà in terra non pur, ma sù nel cielo? 260

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and is bound by a woven, silken halter whose combined colors indicate a noble mind.101 This halter was made by skilled hands, while Ottinio burned for the love of a nymph who in those days was held to be the fairest of the fair.102 And the goat loves me so, and so dear is the halter to him / [52r] that if I untie it, he lies down beside it and becomes sad and refuses food unless I fasten it first. For this reason, I had the following words stamped on its fine collar in letters of gold: “I am unhappy when loosed from such a dear bond.”103 I also want to give Partenia a lovely, golden ribbon to tie her hair with, to let its beauty outshine the gold.

Elpino For the sake of your love, Leucippo, I would do greater things. I will try Ergasto, and attempt to force him if he refuses. But once I have done this, where can I find you?

Leucippo You will find me in my dwelling.

Elpino I shall depart. Farewell! Leucippo Farewell! O heaven grant that Ergasto agrees, and the lovely Partenia too, so that I may go this evening to find them. For if this happens, who could be happier / [52v] than I am, on earth or even in heaven above?

218 Partenia, favola pastorale SCENA TERZA

Tirsi solo [Tirsi] Egli è pur vero, o Dei, che vuole Ergasto Oggi a Leucippo dar la figlia in sposa. Misero me, tu casta Dea, potrai Consentir che sian vani i giuramenti A te così solennemente fatti? 265 O perché son’io mai nel mondo nato? Perché non fui prima che un’uomo, un sasso, O qual si voglia altra insensibil cosa? Ch’io non vedrei sì abominevol caso Com’ora veggio, e con mio danno il provo. 270 Qual grav’error ha mai commesso in terra Alcun mortal che di sì atroce pena Fosse punito com’io, lasso, sono? Poiché in un punto solo Mi tradisce l’amico, 275 M’abandona la speme, Non val per me agli Dei Far giuramento espresso, / [53r] Ciò ch’amai, e bramai M’è iniquamente tolto. 280 E da chi poi, misero, da Leucippo, Da quel Leucippo, a cui per far piacere Avrei sofferto di passarmi il petto. Ahi perché il sole oggi riluce a noi? Perché il ciel non si ferma? 285 Che non s’apre la terra, Per inghiottir, non te vo’ dir, Leucippo, Ma me solo infelice, Acioché sia tuo matrimonio vero? Che vero esser non può mentre ch’io vivo. 290 Qual’opra, qual pensier, qual’atto mai Feci io, che sol non fosse

Partenia, A Pastoral Play 219 SCENE THREE

Tirsi alone Tirsi

O gods, it is indeed true that Ergasto today wants to give away his daughter in marriage. Woe is me! O chaste goddess, how can you tolerate that vows so solemnly sworn to you go unheeded? Ah, why was I ever born into the world? Why was I not created a stone or some other unfeeling object, rather than a man? Then I would not behold such a monstrous situation as I now see and must painfully bear. What serious error has any mortal ever committed on earth that was punished with such atrocious suffering as is, alas, visited on me? For at the same time my bosom friend betrays me and hope abandons me. The gods ignore the vow made on my account, / [53r] since the one whom I loved and yearned for has been unjustly taken from me. And who has made me so wretched? Leucippo—that same Leucippo for whose pleasure I would have willingly pierced my own breast. Ah, why does the sun shine upon us today? Why do the heavens not stop turning? Why does the earth not open to swallow—I shall not say you, Leucippo—but me, in my lonely grief, so that your marriage may be legitimate? For it cannot be so while I live. What labor or act did I ever accomplish, what thought did I ever have that

220 Partenia, favola pastorale

Per giovarti e onorarti? +> [Et or così mi paghi ingrato amico?]cxxvii Ben certo son che questa destra mia Faria di me nel petto tuo vendetta; Ma non sia vero mai ch’ella si tinga Nel sangue di colui che tanto amai. Più tosto a me infelice vo’ dar morte, Perché tu possa col favor del cielo / [53v] Goderti la mia ninfa. Ahi, perché mia la chiamo, S’Ergasto vol sia tua, Et ella sen’ contenta? Et anch’io voglio Che legitimamente ella sia tua. Se ben tradito m’hai, non sarà vero Che mai per ira o per vendetta io faccia Ch’opri tu cosa alcuna in disonore Degli Dei. Godi pur, morto ch’io sono, Partenia bella, o fraudolente amico; Che come in vita, vo’ giovarti in morte. Ma che tardo a dar fine A la vita et al duolo? Più non convien tardar, perché Partenia Gli Dei più non offenda con Leucippo Mentre ch’io vivo. E voi celesti Numi, Abbiate, ve ne prego, di Partenia Cura, e pietate di Leucippo; ch’io Volontario men vado, e pronto a morte; Che non convien ch’uom sì infelice viva.

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Partenia, A Pastoral Play 221

was not solely to benefit and honor you? And this is how you repay me now, you ungrateful friend? I am quite certain that this right hand of mine would be prepared to take vengeance on your breast. But let it never come to pass that my hand be stained by the blood of the man I loved so much. Rather, I shall kill my unhappy self, so that with heaven’s favor you can / [53v] possess my nymph. Ah, why do I call her mine if Ergasto wants her to be yours and she agrees to this? I too want her to be yours legitimately. Even though you have betrayed me, let it never be that I—out of anger or vengeance—ever let you do anything that would dishonor the gods. Enjoy the lovely Partenia when I am dead, O false friend, for just as I have helped you in life, I want to do so in death. But why do I delay in ending my life and my sorrow? I must put off dying no longer, so that Partenia does not offend the gods with Leucippo any more. O heavenly gods, I beseech you, protect dear Partenia and have compassion for Leucippo, for I willingly and readily go now to my death, for it is not fitting that such an unhappy man should live.

222 Partenia, favola pastorale SCENA QUARTA / [54r]

Partenia, Cloricxxviii Clori

Non temer più di Cromi, ch’un bifolco M’ha detto ch’ora ha traversato il colle, Et è degno di fede. Ma Partenia, Se cara mai ti fu la mia amicitia, Vivi lieta ti prego. Oimè, non vedi Quanto lontana sei da la ragione A voler disperarti sì di quello Ch’a di te fatto Ergasto, il padre tuo? Dimmi, a qual ti potea congiunger mai Pastor più di te degno di Leucippo? O quante ninfe quel ch’a te concede Il ciel bramano indarno. È bello e saggio Leucippo, e ricco, che puoi più bramare?

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Partenia Mai non bramai cosa terrena, o Clori, E sai ben tu quanto vi son lontana, 335 S’ha ben così di me disposto il cielo. Ma non m’affligge e mi tormenta il core Con[venirmi]cxxix obedir mio padre Ergasto; Ché servire a ciò fui pronta, come a figlia Onorata e discreta si conviene, / [54v] 340 Né perché mi dispiaccia che mio sposo Leucippo sia, né trovo al mio dolore Cagione alcuna. Oimè, c[h]’ho dentro al petto? Qual cosa per la mente non mi passa, Che terribil non sia, s’io dormo o veglio.cxxx 345 Dianzi quando a quell’ombra mi trovasti [R]estatacxxxi m’era, che per la stanchezza Gli occhi havea chiusi alquanto, e non sì tosto Gli chiusi, ahi lassa, ch’io mi vidi avanti (E fu certo un’orribil visione) 350

Partenia, A Pastoral Play 223 SCENE FOUR / [54 r]

Partenia, Clori104 Clori

Do not fear Cromi any more; a trustworthy herdsman told me that the satyr has just passed over the hill. But Partenia, if you ever valued my friendship, I beg you to be happy. Alas, do you not see how foolish you are to despair so greatly over what your father Ergasto has done for you? Tell me, could you ever be married to a shepherd more worthy of you than Leucippo? O how many nymphs long in vain for what heaven has granted you! Leucippo is handsome, wise, and wealthy too—what more can you desire?

Partenia Oh Clori, I never wanted earthly things, and well you know how much I avoid them, for I am so disposed by heaven. But my heart is not afflicted and tormented because I have to obey my father Ergasto—for I was ready to abide by his wishes as an honored and respectable daughter should. / [54v] I am not upset that Leucippo is to be my husband either; indeed, I find no cause for my grief. So, alas, what is it I feel in my breast? Only terrifying thoughts pass through my mind whether I am asleep or awake. Earlier, when you found me lying in the shade, I had stayed there to rest briefly out of weariness. As soon as I had closed my eyes, ah alas, I saw before me—a truly horrible vision—

224 Partenia, favola pastorale

I figli d’Eolo sventurati, arditi, E in se stessi crudeli, da le Furie Tormentati, agitati, e lacerati. Et io piena d’orrore e di pietate Parea pregar per lor le fiere Dive. In questa, oimè, la casta Dea m’apparve In sembiante di loro assai più fiero. Io fiso la mirava, e più tremante Che foglia al vento. Ella sdegnosa e torva Mi guatava, e di stratio e di ruina Mi minacciava. Io piena di paura / [55r] Chieder pur le volea l’aspra cagione De le minaccie sue crudeli, et ella Sparve dinanzi agli occhi miei, e seco Tutte le Furie, e i tormentati, e ’l sonno. Io sì d’orror ripiena e di paura Restai che gelo ho ne le vene il sangue, E tremante le membra, e ’l cor di smalto. E credo se tu, Clori, non venivi, Ch’io sarei già per la paura morta.

Clori

Mentre che travagliata abbiam la mente, Travagliato convien ch’anco sia il sonno, E però vision non de’ chiamarsi. Vedi quanto tu sei lunge dal caso Dei figli d’Eolo, né se possa stare La casta Dea tra l’infernali Furie. E di che vòi che ti minacci, s’hai In onor suo virginità serbata?

Partenia Sempre l’intento mio fu di serbarla Veramente in suo onor, come tu dici; Ma perché ciò mi veta il padre mio, È forse la mia Dea meco adirata. / [55v] Pur quando penso ch’io non ho giurato

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Partenia, A Pastoral Play 225

Clori

the unfortunate offspring of Aeolus, turning boldly and cruelly on themselves,105 while the tormenting Furies harried, and whipped them.106 In my vision, full of horror and compassion I prayed to the fierce goddesses to spare them. Alas, at this point the chaste goddess107 appeared to me looking far fiercer than the Furies. Trembling with fear more than a leaf in the wind, I beheld her. Looking at me grim-faced and angry, she threatened me with torture and ruin. Though filled with dread, / [55r] I still wanted to ask her why she made these harsh, cruel threats, but she vanished before my eyes along with all the Furies, the tormented souls, and my repose. I was left so full of fear and horror that my blood has turned to ice in my veins, my limbs are trembling, and my heart has turned to stone. And I believe that if you had not come, Clori, I would by now have died from fright.

While our minds are troubled so is our sleep, so do not see this as a vision. Consider how different you are from the children of Aeolus, and whether the chaste goddess could ever be found among the infernal Furies. What reason could she have to threaten you, when you have preserved your virginity in her honor?

Partenia It was always my intent to preserve it honestly in her honor, as you note; but as my father now forbids this, perhaps my goddess is angry with me. / [55v] Yet, when I consider that I have not sworn to keep myself intact for the sake

226 Partenia, favola pastorale

Per sua divinità serbarmi intatta, Che questo sia di ciò cagion non credo.

Clori

O piaccia al ciel ch’un altro giuramento Non abbi fatto; ch’ora mi soviene Ch’al tempio in grembo ti fu tratto un pomo Da un pastor, detto Tirsi, et io lo vidi Bench’io ’l tacessi quando il dimandasti, Per non farti adirar nel tempio santo: E quelle note che nel pomo scritte Erano a te sentì.cxxxii

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Partenia Oimè, gli è vero. Ahi lassa, ahi lassa, questo è il giuramento Che fa cruda la Dea. Pur visione 395 Clori fu quella, e non semplice sogno. O piaccia al ciel che l’altre cose viste Non sian per me qualche infelice segno. Ahi sventurata, adunque il padre mio Obedir non potrò, se ’l giuramento 400 Osservar voglio, fatto alla mia Dea? E s’obedisco lui, contra me faccio. / [56r] Ahi lassa, ben’ il cor mi predicea Gran mal, poich’io sarò non obedendo Iniqua al padre; e iniqua e scelerata 405 Non osservando il giuramento fatto. Misera, che far deggio? In qual parte del mondo Volgerò il passo mai, Ch’io non sia sempre sempre 410 Tenuta iniqua, scelerata, et empia? Che volendo aver vita, par conviene, Lassa, pigliar de duo partiti l’uno. Deh, perché non serrai subito gli occhi Quando gli apersi al mondo? 415

Partenia, A Pastoral Play 227

Clori

of her divinity, I do not think that this is the reason.

O heaven forbid that you have made another vow! Now I recall that at the temple an apple was thrown to you by a shepherd called Tirsi—I saw it, although I did not mention it when you asked me, to avoid upsetting you in that holy place—and you uttered the words that were written on the apple.108

Partenia Alas, it is true! Ah doubly alas, it is this vow that makes my goddess cruel. So it was a vision, Clori, and not simply a dream. O heaven grant that the other things I saw are not some unlucky omen for me. Ah, how unfortunate I am! Can I now not obey my father if I wish to observe the vow I made to my goddess? And if I obey him, I endanger myself. / [56r] Ah alas, my heart rightly foresaw great evil, since I am wicked if I do not obey my father, and even more iniquitous if I do not observe the divine vow I made. Ah me, what should I do? To what corner of the world can I ever retreat to avoid being always and evermore considered unjust, sinful, and wicked? If I want to stay alive, alas, it seems I must choose one of these two paths. Oh, why did I not shut my eyes as soon as they opened to

228 Partenia, favola pastorale +> [Poi ch’esser deve la mia vita al mondo Essempio sì malvagio?]cxxxiii Ma al ciel non piaccia mai che questo sia. Vo’ più tosto quest’occhi, Pria che tramonti il sole, 420 Chiuder’ eternamente, Lasciando in preda a le più fiere fere L’intatte membra mie, Che ciò m’accada mai; Et ora voglio a questa impresa pormi. / [56v] 425 Povero Ergasto mio, che fia di te Quando vedrai la tua Partenia morta? Con meco ogni tua speme, Ogni contento tuo Morto restarà. Padre, 430 +> [O padre, o caro padre,]cxxxiv Cosa più non vedrai, che non t’apporti Passione e tormenti. Ben sarai sol d’affanno al mondo essempio Senza la figlia tua. 435 Ma meglio è pur che senza lei tu viva, E ch’ella morta resti In gratia degli Dei, Pria che di lor si viva e tua nemica. Ben essi avran di te, mio padre, cura 440 Con Dio rimànti o padre, a Dio mia Clori. Io me ne vado in cima di quel monte Per voler poi precipitarmi a basso. Clori

Aspetta, mia Partenia, aspetta, aspetta, Aspetta, te ne prego. Ahi sì veloce 445 Damma non va, né cervo. O Dei potrolla mai / [57r] Giunger’ a tempo, ch’ella non s’uccida? Il fine del quarto Atto

Partenia, A Pastoral Play 229

Clori

the world, since my life will now be such a wicked example to others? But by heaven let this never occur! I would rather close my eyes eternally before the sun sets, leaving my intact body as prey to the wildest beasts, than ever have this happen. And now I wish to set to this task. / [56v] My poor Ergasto, what will become of you when you see your Partenia dead? With my death all your hopes and happiness will die too. O father, O my dear father! Whatever you see after this will bring you suffering and torment. You will be a unique example of grief to the world without your daughter. But it is still better for you to live without her and for her to have died in a state of divine grace, than for her to continue living in this state as your enemy. The gods will care well for you, my father. God be with you, O father. Farewell my Clori. I am going to the top of that mountain so that I can hurl myself down.109

Wait, my Partenia, stop, wait! Stay I beg you! Alas, she runs faster than a hind or a stag. O gods, will I ever / [57r] be able to reach her in time to prevent her from killing herself?

End of Act Four

230 Partenia, favola pastorale ATTO QUINTO SCENA PRIMA

Ergasto, Elpino [Ergasto] Pur fra’ mortali, Elpin, son’io tenuto Agli Dei più d’ogn’altro, che concesso M’hanno figlia sì saggia e sì prudente, Che sperar ogni onor posso da lei. O me felice; hai tu veduto quando 5 Io le parlai di darle sposo, come Pronta si mostrò sempre a le mie voglie?cxxxv O me beato in terra. Sia tu sempre da me figlia, e dal cielo, Benedetta. Qual cosa più mai posso 10 Fuori di te bramare? Nulla per certo. O Giove, sia pur sempre Da te la cara mia figlia guardata, E noi simil’, a lei et a Leucippo Concedetimi prole, o Dei, vi prego. 15 Elpino

Così a lor piaccia; ma ti prego, Ergasto, / [57v] A contentarti che stasera meco Leucippo venga a visitarti a casa, Né mi negar per Dio tal gratia.

Ergasto Elpino Al fin di quel che chiedi mi contento; 20 Ma prima vo’ parlarne con Partenia: Ch’onesto non mi par, s’ella mai sempre Ogni mia voglia adempie, ch’io ciò faccia Senza che ’l sappia, che sì tosto forse Non lo vorrà.

Partenia, A Pastoral Play 231 ACT FIVE SCENE ONE

Ergasto, Elpino Ergasto Elpino, I am surely favored by the gods more than any other mortal, for they have bestowed upon me a daughter so wise and prudent that I can hope for every honor from her. Oh, how fortunate I am! Did you see how readily she continued to obey my wishes when I spoke to her about giving her a spouse? Oh, how favored I am among mortals! May you always be blessed, daughter, both by heaven and by me. What more could I desire besides you, Partenia? Nothing certainly. O Jove, may you always care for my dear daughter—and us too—and grant me that she and Leucippo have progeny, O gods, I pray you.

Elpino May they grant this. But I beg you, Ergasto, / [57v] to allow Leucippo to come with me this evening to visit you at home; do not deny me such a favor for the sake of God.

Ergasto Elpino, I am happy to grant what you ask, but first I want to discuss it with Partenia. Although she always fulfills all my wishes, I do not think it right to agree to this without her knowledge, for perhaps she will not want to see him so soon.

232 Partenia, favola pastorale Elpino Non sai, Ergasto mio, 25 Che sempre piace a lei ciò ch’a te piace? Ergasto

Lo so (gratia agli Dei) onde per questo Ben ti puoi contentar di darmi questo Poco di tempo, che saran ben tosto Adempite le voglie di Leucippo, E le tue insieme. Qui fermianci alquanto, Che non può far che non ci venga anch’ella, Volendo far ritorno al nostro albergo.

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SCENA SECONDA

Clori, Ergasto, Elpino / [58r] [Clori]cxxxvi Lassa, pur quella io son che così amara E ria novella al saggio Ergasto porto? 35 Povero Ergasto, queste son le nozze Solen[n]i che farai. Ergasto Ecco qua Clori, Cara compagna di Partenia mia. Ella saprà di lei novella darne. Meravigliomi ben che non sia seco. 40 Clori

Questa è la prole che n’avrai, e questo Il gran contento.

Partenia, A Pastoral Play 233 Elpino Do you not realize, my dear Ergasto, that she always wants what you want? Ergasto I know (thanks be to the gods). So for this reason you can rest assured in allowing me this short delay, for soon enough Leucippo’s desires will be fulfilled—and yours too. Let us rest here a while, for Partenia must pass by on her way back to our house.

SCENE TWO

Clori, Ergasto, Elpino / [58r] Clori [Aside] Alas, am I the one to bring such bitter and terrible news to the wise Ergasto? Poor Ergasto, what solemn nuptials you will celebrate!

Ergasto Here comes Clori, the dear companion of my Partenia. She must have news of my daughter. Indeed, I am amazed that she is not with her.

Clori [Aside] Ah, this is the progeny that you will have, and this is your great happiness!

234 Partenia, favola pastorale Ergasto Parla di contento, Elpino, andiamo tosto a udir che dice. Elpino Andiamo. Ergasto Clori

Par che sia nel viso mesta.

Ecco qua l’infelice. Io pur sì trista 45 Novella gli darò? Non fia mai vero Ch’escan da la mia bocca Così noiosi accenti. Oimè, bisogna pure Ch’io quella sia; perché le belle membra 50 Non restin preda di rapaci fere: / [58v] Che troppo degno et onorato cibo Sarian di loro. Ergasto mio, tu vieni Presto troppo e veloce ad incontrare Una che sol ti porta affanno e doglia. 55

Ergasto Oimè che sento? Elpino Clori

Ahi che novella porti?

O perché non son’io più tosto morta Prima d’averti conosciuto, Ergasto, Over muta restata? Che da me non udresti Caso di duol sì pieno.

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Partenia, A Pastoral Play 235 Ergasto She speaks of happiness, Elpino. Let us go over to hear what she says. Elpino Let us go. Ergasto Her expression looks troubled. Clori [Aside] Here comes the unfortunate father. Can I really break such sad news to him? Ah let me never have to utter such dreadful words. Yet, alas, I must do this, so that her lovely limbs do not remain the quarry of ravening beasts, / [58v] for this would be too worthy and honorable a prey for them. [To Ergasto] Ah, Ergasto, you come too soon and too quickly meet the one who brings you only grief and sorrow.

Ergasto Alas, what do I hear? Elpino Ah, what news do you bring? Clori

Oh, why did I not die or turn mute before ever knowing you, Ergasto! Then you would not hear from me now such a tagic tale.110

236 Partenia, favola pastorale Ergasto Oimè, che tu m’accori.cxxxvii Deh Clori tosto dì quel che vòi dire. Clori

Povero Ergasto, tu non sei più padre, Morta è la figlia tua su queste braccia. 65

Ergasto Oimè la figlia mia? Partenia è morta? Ma come? Oimè, dillo mia Clori, o figlia. Elpino Misero Ergasto. O che novella cruda È questa che n’apporti, a me t’appoggia Ergasto mio. Ergasto Deh dimmi la cagione / [59r] 70 De la sua morte, e mia. Clori

Ergasto, mentre oggi nel tempio santo Si celebrava de la casta Dea Solennemente la gran festa, Tirsi, Tirsi pastor, il giovanetto, quello 75 Ch’essempio al mondo fu d’ogni virtute, Gettò nel grembo di Partenia un pomo, Su’l qual queste parole erano scritte: “Tirsi, io ti giuro per la casta Dea Di non pigliar’ altri che te per sposo.” 80 L’incauta figlia tua le scritte note Avanti al simulacro di Diana Proferì tutte, e fu da me sentita, Non pensando per ciò far giuramento. Or poi che fu da te partita, quando 85 T’ebbe promesso di pigliar Leucippo,

Partenia, A Pastoral Play 237 Ergasto Alas, you fill me with foreboding. O Clori, tell me quickly what you wish to say. Clori

Poor Ergasto, you are no longer a father. Your daughter died in these arms of mine.

Ergasto Ah, my daughter! Partenia is dead? But how? Alas, tell me, Clori! O my daughter! Elpino Wretched Ergasto! O what cruel news you have received. Lean on me, dear Ergasto.

Ergasto Ah, tell me the cause / [59r] of her death—and mine.

Clori

Ergasto, while the great festival for the chaste goddess was solemnly being celebrated today in the holy temple, Tirsi— that young shepherd who was an example to the world of every virtue—threw an apple into the lap of Partenia on which were written these words: “Tirsi, I swear to you by the chaste goddess to take no one else for my husband.”111 Your unwary daughter read these words aloud before the image of Diana—I heard her—and did not realize that she was thereby making a solemn vow. Afterwards, she promised you she would accept Leucippo as her spouse. On leaving you,

238 Partenia, favola pastorale

Stanca dal lungo corso ch’avea fatto Due volte per fuggir l’orrendo Cromi, Nel prender poi che fu di lui sicura Riposo alquanto a l’affannate membra, 90 v Fu dal sonno sorpresa, e in mezo al sonno / [59 ] L’apparve l’ombre dei figliuoli d’Eolo Da le Furie cacciate e tormentate, E seco l’alma Dea di castitate, Più orrenda assai d’Aletto e di Megera, 95 Onde furon cagion ch’ella destòssi, Di spavento ripiena e di paura. Io la trovai. Ella narrommi il tutto, Et io mi rammentai del giuramento Che fe’ nel tempio, e rammentailo a lei. 100 Et allora di duol, d’angoscia piena, Disse: “Convien ch’io scelerata sia Vivendo, poiché s’obedisco al padre, Manco a la Dea; e s’a la Dea non manco, Non obedisco al padre. Ah non fia vero 105 Questo né quel. Io vo’ morire in prima.” E te chiamando, si partì veloce Verso l’Armato Monte: et io ben fui Presta a seguirla, né di vista mai La perdei.

Ergasto Figlia mia, più cara assai Che l’alma! Oimè! Segui pur Clori, segui. / [60r]

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Clori Ella non fu sì tosto in cima al monte Ch’io la raggiunsi, e forse ben l’avrei Interrotto il morir, ma chi può mai Andar contra il destino? 115 Mentre cerco vietar ch’ella non mora, Ecco Tirsi qui giunge sì veloce, E sì mutato da quel ch’era in prima,

Partenia, A Pastoral Play 239

she reached a safe spot where she rested her exhausted limbs, wearied from fleeing twice to escape the monstrous Cromi, and sleep overcame her. In the middle of her slumber / [59v] the shades of Aeolus’s offspring appeared to her, harried and tormented by the Furies. With them was the holy goddess of chastity, who was far more horrifying than Allecto and Megaera.112 They caused her to awake full of distress and fear. When I found her she told me all, and I recalled the vow that she made at the temple and reminded her of it. Then, full of sorrow and anxiety, she said, “If I live, I will act wickedly: for if I obey my father, I will fail my goddess; and if I do not fail my goddess, I will disobey my father. Ah, I want neither of these things to come to pass—I would sooner die!” And she left quickly for the Armed Mountain, calling out for you, Ergasto.113 I followed her rapidly and never lost sight of her.

Ergasto O my daughter, more precious to me by far than my soul! Alas! Go on, Clori, go on. / [60r] Clori

As soon as she reached the summit of the mountain I caught up with her, and perhaps I would even have interrupted her death—but who can ever alter destiny? While I was trying to prevent her suicide, Tirsi suddenly arrived in great haste.114 So altered in his aspect was he that he

240 Partenia, favola pastorale Che parea forsennato, e che d’inferno Le migliaracxxxviii di spirti avesse adosso. 120 Ma come vide il bel leggiadro viso Di Partenia, fermossi in guisa tale Che di marmo parea, non uom di carne. Quando io m’accorsi che non s’accorgea Di lui la ninfa, che bon spatio stato 125 Quivi era, dissi: “Ecco qui Tirsi”. Et ella A questo fuggir vol[s]e, ma il pastore Disse: “Non mi fuggir, Partenia, ch’io Non intendo noiarti, Né da te voglio o chiedo altro che solo 130 Ascolti due parole. Se per me nol vòi far, fallo per Clori, / [60v] Overo per colui ch’oggi tuo sposo Sarà.” Fermossi a questo ella, poi disse: “Ah, Tirsi fraudolente, 135 Ben facile ingannar ti fu una ninfa Semplice come me, sciolta dai lacci Del tiranno signor. Se tu mi amavi, Se tu bramavi ch’io tua fossi, iniquo, Perché non far come Leucippo ha fatto? 140 cxxxix Egli m’ha chiesta al padre mio per sposa, Che forse a te m’avria volentier data. Tu non potevi già temer ch’io fossi Innamorata di Leucippo, ch’io Non lo conosco, né men te, protervo, 145 Ho conosciuto fin’ ad or, che Clori M’ha detto che colui tu sei, ahi lassa, Da cui tradita fui, Né mai ad uom parlai fuor ch’a mio padre.” Ergasto Onesta figlia mia, padre infelice 150 Ch’io son senza di te, ahi sventurato.cxl

Partenia, A Pastoral Play 241

now appeared out of his wits, and seemed hounded by myriad spirits of hell. But when he saw the lovely face of Partenia, he stopped and stood so still that he seemed more like a marble statue than a living man. When I realized that the nymph had not noticed him after he had been there for some time, I said, “Tirsi is here.” At this she made to run, but the shepherd said, “Do not flee, Partenia, for I do not mean to disturb you. I desire and ask nothing of you except that you listen to a few words. If you do not wish to do it for my sake, do it for Clori’s, / [60v] or else for the shepherd to whom you will be married today.” At these words she stopped, and then said, “Ah deceitful Tirsi. It was so easy for you to trick a simple nymph like me, free as I am from the snares of the tyrannous lord.115 If you loved me and wished me to be yours, you treacherous shepherd, why did you not do what Leucippo did? He asked my father to marry me; perhaps my father would have willingly bestowed me upon you instead. You surely did not fear that I was in love with Leucippo? I did not know him; nor did I know you, insolent shepherd, until Clori told me that you were the one who betrayed me, alas. For I have never spoken to any man other than my father.”

Ergasto My virtuous daughter! What an unhappy father I am without you, ah, woe is me!116

242 Partenia, favola pastorale Clori Allora Tirsi umilemente disse: “Partenia se da me tu offesa sei, / [61r] Io son per farne emendacxli In modo tal che ne sarai contenta. 155 Sol ti chieggio una gratia, Ch’a te fia lieve cosa. Quest’è che mi perdoni anzi ch’io mora: Ch’io vo’ ninfa morire Perché tu possa col favor del cielo 160 Goder il tuo Leucippo. Oimè, Partenia, ch’io non t’ho tradita, Né fraudolente sono. Ben io tradito, lasso, Stato son da Leucippo, 165 Che come intese la mia ardente fiamma, Tosto a tuo padre domandar ti fece, Lasso me, per consorte.” E in questa, da singulti e da sospiri Vinto, si ta[c]que, e per buon spatio stette 170 Senza poter parlare. Al fin, quando pur pia[c]que al cielo, al duolo, “Ahi” disse, “O Dei ch’è quel ch’io dico? O ninfa,cxlii Non dare ai detti miei, / [61v] Che ’l duol esprime, fede. 175 Gòditi pur’ in pace Quel che ’l ciel vuole, e vuol tuo padre, et io, Misero, voglio pur con la mia morte Dal fatto giuramento Scioglierti quanto prima.” 180 E sì dicendo, il dardo mio levommi Ch’a pena me n’accorsi, et a la parte Dove l’invitto core alberga, mise L’acuta punta. Ben vi corsi io presta Per vietargli il morir; ma Morte, ahi lassa, 185 Più del dardo fu presta a scioglier l’alma, Accioché il ferro crudo non squarciasse Sì nobil fascia, di virtù sì adorna,

Partenia, A Pastoral Play 243 Clori



Then Tirsi said humbly, “Partenia, if you were offended by me, / [61r] I want to make amends in a way that satisfies you. I ask you only one favor, which you can easily do. That is, that you pardon me before I die—for I intend to die, nymph, so that you can enjoy your Leucippo with heaven’s blessing. Alas, Partenia, I did not betray you. Nor am I deceitful. Indeed, I have, unfortunately, been betrayed by Leucippo, for when he heard about my burning passion for you he quickly approached your father to ask for your hand, ah alas.” And with this he fell silent, overcome by sobs and sighs, and he stayed that way for some time without being able to speak. At last, when heaven and his grief allowed him to do so, he exclaimed, “O gods! Alas, what am I saying? O nymph, do not heed my words, / [61v] which are spoken out of sorrow. Just enjoy in peace what heaven wishes, and what your father and I want. In my misfortune, I want my death to release you as soon as possible from the vow you made.” And in saying this he took my arrow almost without me realizing it, and he put the sharp point to his chest where the ever-loving heart dwells. I ran to him quickly to prevent him from dying, but Death, alas, was quicker than the arrow to release his soul, for the cruel steel did not pierce his mortal flesh, which is so noble and so adorned with virtue.117

244 Partenia, favola pastorale Onde de l’immortal sua parte priva Lasciossi andare a’ nostri piè nel suolo. 190 Partenia allora da dolor, da tema Impaurita e vinta, con tremante Voce disse: “Son’io dunque cagione che costui morto sia? Qual Dio ritroverò mai su nel cielo / [62r] 195 Ch’abbia di me pietate? Qual per me stella fia mai che risplenda? Qual’omo in terra troverassi mai C[ui]cxliii più che qual si voglia orrendo mostro Non sia la vista mia noiosa e grave? 200 Qual crudeltate alberga ne l’inferno, Ch’al grave mio castigo non sia lieve? Tirsi, perché sei morto? Misera me, per una a cui non deve Prestar più luce il sole, 205 Ned aver più per se Dio, cielo o terra. Oimè! Potrò goder Leucippo in gioia, Senza offesa del ciel, poiché sei morto, Se cagion’io de la tua morte fui?” Et a me rivoltossi, e disse: “O Clori, 210 Questa è la face d’Imeneo, accesa Nel viso di costui per le mie nozze. Questi sono i prodigi dei contenti, Ch’avrò, lassa, congiunta con Leucippo. Sciolto pur hai, o Tirsi, il giuramento 215 cxliv v Con l’alma insieme, e la tua bella fascia / [62 ] Ai piedi di colei di vita indegna, Che di ciò fu cagion, si giace in terra. Ma poiché in me non ritrovasti vivo Pietate, io vo’ che la ritrovi morto 220 Col darti sepoltura. Per questo a tal’impresa sol mi movo E non per lieve fare Le pene degne di mia grave colpa, Ch’io lo protesto a ogni celeste nume.” 225

Partenia, A Pastoral Play 245

Deprived of his immortal soul, he fell to the ground at our feet. Overcome by sorrow and fear, Partenia then said in a trembling voice, “Am I the cause for this man’s death? What god will I ever find in heaven above / [62r] who will take pity on me? What star will ever shine for me? Will there ever be a man on earth who would not find the sight of me more awful and ghastly than the most horrendous monster? What cruelty exists in hell that will not seem too lenient for my severe punishment? O Tirsi, why did you die for a wretch for whom the sun should no longer shine, who should no longer possess God, heaven, or earth? Alas! Now that you are dead, how can I enjoy Leucippo happily without offending heaven, when I was the cause of your death?” And she turned once more to me and said, “O Clori, behold in his face Hymen’s torch,118 lit for my wedding! These are the portents of my future joy, alas, when joined with Leucippo. O Tirsi, you have indeed undone the vow, together with your soul; and your handsome mortal remains / [62v] lie on the ground, at the feet of the nymph who caused this and who is undeserving of life. But since you did not find compassion from me when you were alive, I want you to find it in death as I bury you.119 Pity alone moves me to this act, not the wish to lighten the punishment that I deserve for my grave error, for I confess this to every divine god.”

246 Partenia, favola pastorale E scioltosi il bel cinto, Segno di membra intatte, Disse: “Compagna non potrem levarlo Se non leghiamo alcuni rami insieme Con questo cinto, e lui poi sopra d’essi 230 Ponendo, lo potrem più facilmente A la tomba portar u’ giaccian l’ossa D’un pastor.” Ella ben mi disse il nome, Ma più non l’ho a memoria. Io presta fui a sveller certi rami 235 Et a legarli col bel cinto insieme Mentre ch’amaramente ella piangeva: / [63r] Poscia finita l’opra, a lei ritorno Portando i rami già legati in spalla: Et ove ella piangea vicino al corpo, 240 Li getto in terra: e mentre ch’ella stende Le belle mani a l’opera pietosa Meco disse: “Oimè, lassa! Tardi ritrovi, o Tirsi, Da queste man, pietate; 245 Ma se ben tarda e intempestiva, spero Ch’a te pur sarà grata, Che mi par di vederti ancor nel viso, Pallido no, ma bianco, Bramarla.” E in questa sopra Tirsi, stanca, 250 Lasciossi andare. Ergasto Clori

Ahi figlia, ahi sfortunato!

Ond’io di dolor piena, la levai Di sopra al corpo, ch’ ancor respirava, Raccogliendola, oimè, tra quest[e] braccia, E facendo ogni sforzo, Ergasto mio, Perché restasse l’alma,

255

Partenia, A Pastoral Play 247

After taking off her beautiful girdle, which showed her body to be untouched, she said, “Dear companion, we cannot lift him unless we bind together some branches with this girdle. If we place him on top of these we can more easily carry him to the tomb where the remains of a shepherd lie.” (She did tell me the shepherd’s name, but I do not remember it now.120) I hastily stripped various branches and bound them together with her lovely girdle while she wept bitterly. / [63r] After finishing this task, I returned to her with the newly bound branches on my back.121 I threw them to the ground, next to the body where she was weeping, and while she put her lovely hands to this pious task, she said to me, “Alas, woe is me! O Tirsi, you find pity too late from these hands of mine, but though it is tardy and untimely, I hope that my compassion will still be welcome to you. For from the look on your face—which is not pale, but deathly white— you seem to desire this.” And at this, she wearily collapsed over Tirsi.

Ergasto Ah daughter, ah woe! Clori

Full of sorrow, I lifted her from Tirsi’s body, still breathing, and gathered her in my arms. Alas! I made every effort, Ergasto, to keep her soul within her, But I could not

248 Partenia, favola pastorale

Ma non potei tenerla, / [63v] Che non sen gisse tosto.

Ergasto

O figlia, oimè! Ben’ ho di marmo il core, Poi ch’a sì ria novella non mi s’apre. O Dei, per questo solo io padre fui? Or ben son’ io d’ogni dolor albergo. Misero me, ch’ogni mia speme è morta. Poi che sei morta, o figlia, Ogni mia luce è spenta: Poi ch’hai per sempre, oimè, chiusi i beglicxlv occhi, Quegli occhi, in cui sol mi specchiava, ah lasso,cxlvi Non mirerò più mai? Quell’armonia, quei sì soavi accenti, Ch’a me facean palese le tue voglie A le mie voglie pronte, Non udirò più mai? Or ben per me saran le rose spine, Tenebre fia la luce, Il sol senza splendore, Ogni corpo celeste oscuro e denso, E vivrò sol di pianto e di so[s]piri Senza la figlia mia. / [64r] Ahi figlia, tu se’ morta. E l’infelice tuo padre si vive? Com’esser puote, o Dei,cxlvii debb’io nel mondo Restar sol per essempio Di miseria, e di duolo?

Elpino

Quètati Ergasto omai, ch’al fin conviene Voler quel ch’a Diocxlviii piace. 285 Forse veduto avresti, essendo viva, Ne la tua figlia cosa che d’assai Più che la morte ti saria spiacciuta. Sai ben che il meglio sempre da lorcxlix viene.

260

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270

275

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hold it, / [63v] and it rapidly departed.

Ergasto O daughter, alas! My heart must be made of cold marble since it does not burst on hearing such terrible news. O gods, did I become a father for this? Now indeed I am filled to the brim with sorrow. Ah wretched me, all my hopes are dead! With your death, O daughter, my every light is extinguished! Alas, now that you have forever closed your lovely eyes—those eyes in which I alone was reflected, alas—will I never see them again? Will I never again hear the harmonious and sweet sound of your voice declaring your ready desire to fulfill my wishes? Now, without my daughter, roses will seem to me like thorns, the light will appear like shade, the sun shall lose its brightness, every celestial body will seem dark and leaden, and I will live on tears and sighs alone. / [64r] Ah my daughter, how can you be dead and your unhappy father alive? How can this be, O gods? Must I remain in the world as a unique example of wretchedness and grief?

Elpino Hush now, Ergasto! In the end we must observe what God wills. Perhaps if your daughter had stayed alive, you would have witnessed something that displeased you much more than her death. You know that the gods always provide what is best for us.122

250 Partenia, favola pastorale Ergasto

Come potrò quetar mai questa mente Senza la cara e mia diletta figlia, Che sola ogni mio bene, ogni mia speme Era, misero me? Mai più quest’occhi, Saran[n]o Elpino asciutti.cl

290

Clori

O perché son’io mai nel mondo nata? Oimè che per pietà mi s’apre il core.

295

Ergasto

Cara Partenia mia, Albergo d’onestate D’ogni virtute adorna, / [64v] Ben è ragion che tra gli Dei si stanzi L’alma tua bella e santa: Né piango la tua gloria, Ma solo il non poter teco venire; Che senza te sono infelice albergo D’affanno, di tormento, e di dolore, Anzi il dolore istesso.

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SCENA TERZA

Leucippo, Elpino, Ergasto, Clori [Leucippo] Com’è possibil che costui sì tardi? Ei m’ha pur detto di tornar ben tosto, Né torna ancora, ond’io non ho potuto Già più aspet[t]arlo nel albergo mio. Eccolo a fè, e insieme seco Ergasto. Gir lor vo’ incontra.

310

Partenia, A Pastoral Play 251 Ergasto How can I ever calm my mind without my dear and beloved daughter, who, alas, was my sole source of goodness and hope? My eyes shall ever more run with tears, Elpino.

Clori

O why was I ever born into the world? Alas, my heart is torn asunder with pity.

Ergasto My dear Partenia, as a paragon of honor adorned with every virtue, / [64v] it is right that your beautiful and blessed soul should dwell among the gods. I do not lament your glory there, only the fact that I cannot join you; for without you, I am filled with unhappy torment, anguish, and sorrow— indeed, I am the very image of sorrow.

SCENE THREE

Leucippo, Elpino, Ergasto, Clori Leucippo [Aside] How can it be that Elpino is so late, when he told me that he would return quickly? He is still not back, but I could not wait for him any longer at my hut. Here he is by heaven— and with Ergasto. I shall go to meet them.

252 Partenia, favola pastorale Elpino Ecco Leucippo, Ergasto. Ergasto Oimè, vedrò in tanto affanno, Elpino, Colui, da cui, e da la figlia mia Tanto bene sperava? 315 Leucippo Che piangano mi par. Che sarà questo? Ergasto

Oimè, Leucippo mio, giunta a l’occaso / [65r] È ogni allegrezza mia, Misero me, questi sospiri ardenti, Queste lagrime mie, questi singulti Sono le nozze, ch’oggi far dovria Di te e di mia figlia.

320

Leucippo Oimè, che vuol dir questo, Ergasto mio? Perché vòi tu privarmi, Misero me, di lei? 325 Ella forse di me non è contenta? Elpino Ella pigliato ha per marito e sposo Di te, figlio, assai meglio. Leucippo Dunque io non avrò più Partenia bella? Ergasto Né tu né altro uom mortal, poich’ella giace, Sì come intenderai da questa ninfa, Su ’l Monte Armato morta.

330

Partenia, A Pastoral Play 253 Elpino [To Ergasto] Here is Leucippo, Ergasto. Ergasto [To Elpino] Alas, Elpino, am I to see the man—from whom, together with my daughter, I once hoped for such joy—plunged into grief? Leucippo [Aside] It looks like they are weeping. How can this be? Ergasto Alas, dear Leucippo, / [65r] my every happiness has come to an end. Ah, these burning sighs, these tears and sobs of mine mark the wedding that should have been held today for you and for my daughter.

Leucippo Alas, what does this mean, dear Ergasto? Why do you want to cruelly deprive me of her? Is she not satisfied with me?

Elpino My son, she has taken someone far greater for her husband and spouse. Leucippo So shall I no longer have the lovely Partenia? Ergasto Neither you nor any other mortal man shall, because—as you will learn from this nymph—she lies dead on the Armed Mountain.

254 Partenia, favola pastorale Leucippo Ahi lasso, oimè! Dunque Partenia è morta? Clori

Così non fosse morta.

Leucippo L’hai tu veduta morta? 335 Clori

Su queste braccia è morta.

Leucippo Ahi, cruda, acerba morte! Clori

Et anco Tirsi è morto. / [65v]

Leucippo E ’l mio bon Tirsi è morto? Ahi Morte, tu m’hai morto 340 Senza pur scioglier l’alma Da questo mio or sì noioso incarco, Poiché mi privi di colei, per cui Sperava esser felice, E d’un amico così dolce e caro. 345 Oimè Partenia, io non vedrò più mai Il sol de’ tuoi begli occhi? O ciel, qual più di me copri tu in terra Misero et infelice? Deh qual fu ninfa, dimmi per pietate, 350 L’aspra cagion d’ambi duo lor la morte? Clori

Racontarolla poi Ch’avremo dato a l’onorate membra Condegna sepoltura.

Partenia, A Pastoral Play 255 Leucippo Ah no, alas! Is Partenia dead? Clori

Would that she were not.

Leucippo Did you see her dead? Clori

She died in my arms.

Leucippo Ah, cruel and bitter death! Clori

And Tirsi is dead too. / [65v]

Leucippo Is my dear Tirsi dead too? Ah Death, you have killed me without even releasing my soul from this prison of mine, which is now so intolerable;123 for you deprive me of both the woman whom I hoped would make me happy and such a sweet and dear friend. Alas Partenia, shall I never again see the sun in your beautiful eyes? O heaven, whom do you shelter on this earth that is more wretched and unhappy than I am? O nymph, tell me, for pity’s sake, what was the bitter cause of both of their deaths?

Clori

I will tell you after we have given their honored bodies a worthy burial.

256 Partenia, favola pastorale Leucippo Maladetto sia tu Pallantio vecchio, 355 Che le mie membra tenerelle ancora, Per mio malcli non lasciasti Da l’affamato lupo Guastar e divorar quand’ei m’aveva / [66r] Ne la vorace bocca. 360 Ergasto Oimè, Leucippo che di’ tu di lupo? +>[Leucippo Nulla che tocchi altrui, Nulla ch’a me non sia Di rimembranza amara [Più] che già non mi fu che finto bene.]clii 365 Ergasto Deh, non ti spiaccia raccontarmi il tutto, Ch’io te ne prego, e ’l bramo. Leucippo Presto e pronto son’io A le tue voglie, Ergasto. E voglio ancora mal grado di Morte 370 Obedirti qual genero, e qual figlio. Ergasto Deh racconta, ti prego. Leucippo Ergasto, tu saprai ch’un pastor vecchio, Nominato Pallantio Ergasto Io conosco Pallantio, Ch’egli è per gran valor famoso e chiaro.

375

Partenia, A Pastoral Play 257 Leucippo Accursed be you, aged Pallantio,124 for the misfortune you brought me by not leaving my tender infant’s body to be torn up and devoured by the starving wolf when it held me / [66r] in its greedy mouth.

Ergasto Alas, Leucippo, what are you saying about a wolf? Leucippo Nothing that concerns anyone else; nothing that is not bitter to recall, especially since my good fortune turned out be illusory.

Ergasto Oh, please tell me everything that happened, I sincerely beg you to do this. Leucippo I will promptly and readily fulfill your wishes, Ergasto. And in spite of Death, I still want to obey you as your son-in-law and son.125

Ergasto I pray you tell me. Leucippo Ergasto, you must know that an aged shepherd named Pallantio … Ergasto I know Pallantio, for he is famous and illustrious for his great

258 Partenia, favola pastorale

Sallo Calisa! Il cui bel nome a volo Va per la cetra sua di gloria carco.

Leucippo Or questi un dì, da la cit[t]àcliii tornando, Vide a mezo il camino un lupo grande Fuor di misura, di color più tosto 380 Bianco che bigio, e me bambino aveva In bocca, e divorato allor m’avrebbe S’ei non giungeva, il qual gridando “Al lupo, / [66v] Al lupo, o là pastor, correte al lupo” Fe’ sì che ’l lupo dandosi a fuggire, 385 Andar lasciòmen[e] senza danno in terra. Egli mi prese, et al suo albergo imbraccio Portommi, il qual è posto in riva al Taro, Ove non lunge al fiume, il colle s’alza, In cui piantò sua bella vigna Ottinio: 390 E fin ch’eicliv visse, fortunato e lieto, Benché povero fosse, da figliuolo Mi trattò sempre. Ma partito poi, Per l’infortunio ch’ogniun sa di lui, Mi prese Ottinio del suo gregge a guardia. 400 E fu vera pietà che ve lo indusse, +> [Ch’io non sapea che far, né dove andare]clv Perché l’albergo di Pallantio avuto Un suo fratello avea non sì pietoso, E volse il ciel che sì ad Ottinio piacqui 405 Che in poco tempo qual mi vedi ricco Mi fece, sua mercè, poi volse ancora Che in questo loco ad albergar venissi, A lui sì caro, e sì diletto a tutti. Questo è quanto di me narrar ti posso. / [67r] 410 Ergasto Dìsseti mai Pallantio il loco ov’eri Quando il lupo t’avea per divorarti?

Partenia, A Pastoral Play 259

merit. Calisa knows this too! For his lyre sends her beautiful name winging all around, filled with glory.126

Leucippo Now one day, as he was returning from the city, this shepherd saw in the middle of his path an unusually large wolf, more white in color than grey. It was holding me, an infant, in its mouth and would have devoured me then and there if Pallantio had not approached shouting, “Get the wolf! / [66v] Get the wolf! Ho there shepherd! Come quickly to get the wolf!” He made the wolf run off, after dropping me to the ground unscathed. Pallantio picked me up and carried me in his arms to his dwelling, which is on the bank of the river Taro,127 close by the hill on which Ottinio planted his beautiful vineyard. As long as he lived,128 he was fortunate and happy, and despite his poverty he always treated me as a son. But when he left as a result of the misfortune that befell him,129 as everyone knows, Ottinio took me on to guard his flock. It was true mercy that led him to do so, for I did not know what to do or where to go, because one of the brothers from Pallantio’s house was not so compassionate. And heaven willed that I pleased Ottinio so much that in a short time, as you see, he made me wealthy through his mercy. Then, he also wanted me to come here to live with him in this place, which is so dear to him and delightful to all. This is all I can tell you about myself. / [67r]

Ergasto Did Pallantio ever tell you where you were found, when the wolf was about to devour you?

260 Partenia, favola pastorale Leucippo Ei non me ’l disse mai, ch’io mi ricordi. Ergasto Ti riserbò per sorte alcuna cosa Di quelle che tu avevi adosso allora?

415

Leucippo Un nastro mi serbò, ch’io aveva al collo, Verde, con certe cose a lui legate, Et io lo serbo ancora. Ergasto O Dei, che sento? Sapresti dirmi il giorno, il mese, e l’anno Del tuo rinascimento? Leucippo Ei ben mi disse 420 Questo minutamente, egli più volte Mi disse che fu il dì Venere, e ’l mese Maggio, e vent’anni son ch’egli trovommi. Io due n’aveva allora, e questo è il nastro. Ergasto

Oimè, Leucippo mio, tu sei mio figlio! 425 Questo la madre tua ti pose al collo, Ch’io lo conosco, già da saggia donna De la cit[t]à di Parma avuto in dono, Che contra le malie disse era buono. / [67v]

Leucippo Ergasto, oimè, dunque tu sei mio padre?

430

Ergasto Tuo padre sono! O quanto amaramente T’ho pianto, o figlio, da che la tua madre

Partenia, A Pastoral Play 261 Leucippo He never told me this, as far as I recall. Ergasto Did he by any chance save anything that you were wearing that day? Leucippo He saved a ribbon for me that I had round my neck, which was green with some things tied to it—I still have it.

Ergasto O gods, what do I hear? Could you tell me the day, the month, and the year that you were saved?

Leucippo Indeed, he described this to me in great detail. He told me several times that it was a Friday, in the month of May, and it is twenty years ago since he found me. I was aged two then, and this is the ribbon.

Ergasto Alas, my Leucippo, you are my son!130 Your mother placed this around your neck—I recognize it. It was given as a gift by a wise woman from the city of Parma, who said that it was useful for warding off curses. / [67v]

Leucippo Ergasto, alas, you are my father then? Ergasto I am your father! Ah, how bitterly I have wept for you, my son, after your mother left you alone under an oak tree,

262 Partenia, favola pastorale

Ti lasciò solo, oimè, sotto una quercia Per gir’ al fonte assai quindiclvi vicino, Onde ti portò via quell’empia fera. Ella quanto potè ti seguì bene; Ma in poco d’ora ti perdè di vista, E ’l lupo insieme, e fu dal duol sì vinta Che morì in breve, e mi lasciò infelice.

Elpino

Or felice sarai, Ergasto mio, Avendo ritrovato esser tuo figlio Leucippo; e tu Leucippo anco sarai Felice, ch’hai trovato il padre tuo.

435

440

Ergasto M’è ben di gran contento aver trovato Il mio caro figliuolo, ma felice 445 Esser non posso già senza Partenia. Leucippo Et io come felice sarò mai, Ancor ch’abbia trovato il padre mio, Avendo pria perduta una sorella Che ritrovata, sì prudente e saggia? / [68r] 450 Cara sorella mia, maggior è il duolo Ch’or sento che non fuclvii de la tua morte, E del mio Tirsi. Ahi lasso, io la cagione Di vostra morte fui!

Partenia, A Pastoral Play 263

alas, to go to the stream, which was very close by, and you were then carried off by that vicious beast. Your mother followed you closely for as long as she could, but she quickly lost sight of both you and the wolf, and was so overcome by sorrow that she died soon after, leaving me desolate.

Elpino Now you will be happy, my Ergasto, on having discovered Leucippo to be your son. And you too, Leucippo, will be glad that you have found your father.

Ergasto It is indeed a great joy that I have found my dear son, but I cannot ever be happy without Partenia.

Leucippo And how can I ever be happy, despite having found my father, after having lost a sister before I even found her, who was so prudent and wise? / [68r] My dear sister, the sorrow that I now feel is even greater than it was before, because of your death and that of my dear Tirsi. Ah alas, I was the cause of your deaths!131

264 Partenia, favola pastorale SCENA QUARTA

Coridone, Ergasto, Clori, Leucippo, Elpino Coridone O fortunato giorno è questo d’oggi, 455 Poscia ch’abbiamo ritornato in vita Tirsi e Partenia insieme. O quanto bene Fu l’andar nostro a visitar la tomba, Ove chiuse son l’ossa de la ninfa Tanto amata da Lice, poi ch’abbiamo 460 Per una morta suscitati duo. Ove potrò mai ritrovar Ergasto? Eccolo con Leucippo a punto. O come Il mio desio s’adempie. Il ciel ti faccia Sempre felice, Ergasto. Ergasto Ahiclviii Coridone, Non è per me felicitate in terra Da poi che di Partenia privo io sono. / [68v] Ogni mio bene è morto, Poi ch’ella morta giace. Coridone Da cui sai tu che sia Partenia morta? Ergasto Lo so da Clori. Clori Io quella fui, pastore, Ch’a lui portai novella, oimè, sì trista. Coridone Et io certa novella, Ergasto, porto Che Partenia ora vive, e vive Tirsi.

465

470

Partenia, A Pastoral Play 265 SCENE FOUR

Coridone, Ergasto, Clori, Leucippo, Elpino Coridone [Aside] Oh what a fortunate day it is today! For we have restored to life both Tirsi and Partenia. How lucky it was that we went to visit the tomb where the bones of the nymph so beloved by Lice are enclosed, as with this one death we have saved two lives.132 Wherever can I find Ergasto? Here he comes with Leucippo right now. Ah, my wish is fulfilled! [To Ergasto] May heaven make you ever happy, Ergasto!

Ergasto Alas, Coridone, no happiness is left for me on earth, since I am deprived of Partenia. / [68v] All that was dear to me is gone now that she lies dead.

Coridone Who told you that Partenia is dead? Ergasto Clori told me this. Clori

I was the one, shepherd, who brought such sad news to him, alas.

Coridone But I bring certain news, Ergasto, that Partenia now lives, and Tirsi is alive too.

266 Partenia, favola pastorale Ergasto Vive Partenia mia? Leucippo Partenia vive? 475 Et anco Tirsi? Coridone Vivi son del certo, Ch’ambi duo vivi ho con Talia lasciati Or ora, et a te vengo, Ergasto mio, Con infiniti prieghi che tu voglia Contentarti che sian consorti insieme, 480 Con pace di Leucippo, ch’altramente Voglion morir. Non già perché Partenia Si trovi accesa de l’amor di Tirsi; Ma sol per aver fatto un giuramento Sì come intenderai. / [69r] Ergasto Io l’ho già inteso. 485 Coridone S’adunque inteso l’hai, cedi Leucippo Tu ancora a quel ch’ha consentito il cielo. Ergasto Lodati sian gli Dei, Coridon, mira S’in terra alcun di me più lieto vive; Ch’or ora ho conosciuto esser mio figlio Leucippo. Coridone Quel ch’a te già molte volte Pianger ho visto, che dicevi un lupo Averlo divorato?

490

Partenia, A Pastoral Play 267 Ergasto Is my Partenia alive? Leucippo Partenia lives? And Tirsi too?

Coridone They live for sure, for I have left them both alive with Talia, and now I come to you, my Ergasto, to beg you repeatedly to allow the couple to be married, with the consent of Leucippo, for otherwise they wish to die. This is not because Partenia is now burning with love for Tirsi, but only because she has made a vow as you will hear.133 / [69r]

Ergasto I have already heard about it. Coridone If you already know about it, let Leucippo also agree to what heaven has granted. Ergasto Praise be to the gods! Coridone, behold the happiest person alive on earth! For I have just learned that Leucippo is my son.

Coridone The one that I saw you weeping for many times over, because you said a wolf had devoured him?

268 Partenia, favola pastorale Ergasto E quel ch’allora Io Carino nomava, ora si noma Leucippo. Coridone Caro mio Leucippo, il cielo 495 Sempre a te sia cortese, et ogni Dio A te conceda tutti i suoi favori. Quanta gioia sent’io ch’abbi trovato Il padre tuo, e tu il tuo figlio, Ergasto, E ch’anco[r] sia la tua figliuola viva, 500 La qual al certo se Talia con meco Stata non fosse, non tornava in vita, / [69v] Né manco seco vi tornava Tirsi, Però che morti li trovammo stesi Nel suol tra fiori, e parean dir, tacendo: 505 “Deh per pietà soccorso ai cari amanti”. Et ella allor che quanto fida e bella Tanto è dotta in saper d’ogni virtute De le pietre e de l’erbe, ivi vicino Ne ritrovò per tal bisogno buone: 510 Tanto che in vita con soccorso tale Subito ritornar’, mercè del cielo. Leucippo Lodato il cielo! Or padre mio, ti piaccia Ch’oggi contenti sian Tirsi e Partenia. Ergasto Sia quel che vuol’ il ciel e tu mio figlio. Coridone Andiamo dunque tutti al Monte Armato, Ov’essi si ritrovano, e con loro La mia Talia, poi ce n’andremo insieme

515

Partenia, A Pastoral Play 269 Ergasto The boy that I once called Carino134 is now named Leucippo.

Coridone My dear Leucippo, may heaven always be kind to you and may each god grant you their many favors. I feel such joy that you have found your father, and that you, Ergasto, have your son and also that your daughter is alive—though if Talia had not been with me, Partenia certainly would not have been restored to life, / [69v] nor would Tirsi have been revived without her. For we found them lying dead on the ground among the flowers, silently appearing to say, “Alas, for pity’s sake, help these dear lovers!” And then Talia, who is as faithful and beautiful as she is learned about the many powers of stones and herbs, found some nearby that were suitable for this purpose.135 With this vital remedy Partenia and Tirsi suddenly returned to life, through heaven’s grace.

Leucippo Heaven be praised! Now my father, grant that Tirsi and Partenia be happy today. Ergasto Let it be as you and heaven wish, my son. Coridone Let us then all go to the Armed Mountain where the couple is now waiting with my Talia. After that we shall go together to

270 Partenia, favola pastorale A la capanna tua, dove faremo Le nozze allegri. Ergasto Andiamo. Leucippo Andiamo. Elpino Andiamo. / [70r] Ben sei tu fortunato Ergasto mio.

520

Ergasto Gratia agli Dei! Elpino Però laudati siano! Clori

O quanta gioia in questo core io sento. Or’andiam tosto tutti insieme a loro. O Dei, com’è felice al fin chi vive Vostro servo, e voi teme, e spera in voi. Il fine de la favola

525

Partenia, A Pastoral Play 271

your dwelling to joyfully celebrate the wedding.

Ergasto Let us go! Leucippo Let us go! Elpino Let us go! / [70r] You are truly fortunate, dear Ergasto. Ergasto Thanks be to the gods! Elpino Let them be praised for this! Clori

O what joy I feel in my heart. Let us now go to them quickly, all together. O gods, how happy are those in the end who worship you, and whose hopes and fears rest in you!

End of the Play

272 Partenia, favola pastorale

Notes to the Transcription i. For a detailed description of the criteria the editors used to transcribe the Cremona manuscript of Partenia (Biblioteca Statale, AA.1.33; henceforth (C)) against the copy in the Biblioteca Angelica, Rome (MS 1690; henceforth (A)), see the “Note on the manuscript.” The following symbols are used to indicate presumed emending hands: (O) original transcribing hand; (T) Barbara Torelli Benedetti; (M) Muzio Manfredi. ii. For the five paratextual sonnets on fols +2v+4v , see appendix A. iii. oimè > a te (M). The symbol > indicates an editorial emendation, and is followed by the amended form and an indication, where possible, of the emending hand. iv. che > di (T?). v. membri > spirti (M). vi. esser potrebbe a te > essere ti potria (M). vii. ti sottrarre a (T): emends trasgredire a (O). viii. sì ti fu lieve > ti fu sì caro (M). ix. Deh > E (M?). x. Non è curiosità ch’ > Curioso non son s’ (M). xi. sol vera pietà ch’ho di te stesso > desioso di partir la pena (M). xii. che fuggiva già > ch’a pena apparia (M). xiii. d’allegre[zza] (T): emends di dolcezza (O). xiv. Ogniun: cancelled, with dotted line beneath, probably indicating stet. Heavily cancelled, illegible word written above. xv. Mortella: mirto or mirtillo in standard Italian. xvi. beltate e > beltà con (M). xvii. di acqua stille (T): emends il fredo humore (O). xviii. e tal mi caddi e per buon spatio giacqui (T): replaces E caddi esangue, e poco men che morto (O). xix. sempre > ogniora (M). xx. dio > Dio (M). xxi. mia > e dura (M). xxii. a > d’ (M). xxiii. cagion > causa (M). Small-sized letters “b” and “A” appear above giusta cagion, corresponding with the changed word order in MS (A): cagion giusta. xxiv. tolgo > toglio (M). xxv. Deh vada > Vada pur (M). xxvi. Line 308 shows signs of erasure. Solo in the previous line, and non acceso, e sciolto appear in a bolder, black ink not found elsewhere in the manuscript. xxvii. se ben indegni e frali > benché da core indegno (M). xxviii. adora > onora (M). xxix. Se ben sen va d’ogni bellezza > Benché d’ogni beltà si miri (M). xxx. Giovana > Giovine (M). xxxi. se ben > ancor che (M). xxxii. cela > celi (M).

Partenia, A Pastoral Play 273 xxxiii. aggiunghi > agguagli (M). xxxiv. chi è questo Pastor > qual pastor è quel (M). xxxv. che: added (M?). xxxvi. dolga > doglia (M). xxxvii. noto (O): emends grato (O). xxxviii. Eligi > Elisi (M?). xxxix. morte > Morte (M). xl. tanto > così (M). xli. giovane > giovine (M?). xlii. maggio > Maggio (M). xliii. Line 602: inserted bottom margin (T), self-emends aspra. xliv. Ogni: (O) self-corrects Ch’ogni. xlv. se ben > benché (M). xlvi. potenti > possenti (M). xlvii. o Dei, o cielo > o sorte o fato (M). xlviii. anco riceva > riceva ancora (M). xlix. l’atroce: (O) self-corrects l’affanno atroce. l. et amo: (O) self-corrects in terra. li. non: cancelled (omitted in MS (A)); this shortens the line to 10 syllables and disrupts the sense and pattern of negative statements. lii. santo > orando (O/T?). liii. Line 50 (T): replaces cancelled Sopra d’un pomo queste istesse note (O). liv. ne > la. lv. sol, non > più che (M). lvi. mai sempre > che ’l merti (M). lvii. devo > degg’io (M). lviii. Qual credi tu che > Io non sò ben qual (M). lix. non lo > più nol (M). lx. s’a la cittate vai: (M) clarifies clumsy correction by (O). lxi. cercarò > cercherò (M). lxii. dio > Dio (M). lxiii. Line 292: insertion in bottom margin (T); ne is a correction. lxiv. ci: insertion (M) in black ink. lxv. e: insertion. lxvi. devrebbe paga > satia devrebbe (M). lxvii. cittadi > cittati (M). lxviii. Mi dolgo > Mi doglio (M). lxix. Line 49: (T) insertion bottom margin; ch’ corrected/overwritten (M). lxx. O mia Talia, o > Ahi mia Talia, ahi. lxxi. fele: fiele in standard Italian. lxxii. Ahi non fia > Non sarà (M). lxxiii. diedi: (M) clarifies (O). lxxiv. Ahi > Deh (T?) > O (M).

274 Partenia, favola pastorale lxxv. Ahi > Deh (M). lxxvi. ahi lasso > cieco (M). lxxvii. un: clarifies correction (M). lxxviii. lo > il (M). lxxix. sciocca: (M) replaces an illegible, crossed-out word. lxxx. che per pietà io piansi seco > ch’ [et] io piansi per pietà con lui (M). lxxxi. Lines 227–228: (O) inserts in black ink over erased lines. lxxxii. grande > grave (M). lxxxiii. tai: in standard Italian tali. lxxxiv. Lines 246–247: insertion (O); al duolo > il duolo. lxxxv. Fatto nel (T): corrects Fattosi in (O). lxxxvi. fossen > fosser (M). lxxxvii. Che > Ch’or (M). lxxxviii. O almen > O pur (M). lxxxix. La miglior parte mia > Di me la miglior parte (M). xc. noti [sic]: note in MS (A). xci. mi rese > rendemmi (M). xcii. Spero: (O) inserts before a crossed out ch. xciii. Dei > sorte (M). xciv. ora > egli (M). xcv. dei > Dei (M?). xcvi. chi è quella / Dimmi, ti prego > qual ninfa / È quella, dimmi (M). xcvii. o cielo, o Dei! > o me infelice (M). xcviii. Oimè, veggio di lui ben crudo scempio > Or veggio ben di lui crudele scempio (M). xcix. dur core > cor duro (M). c. parlargli > parlarle (M). ci. ch’ave > have (M). cii. Vòi (T); replaces (O) vuoi. (T) may have made all the emendations to vuoi as opposed to (O) or (M). ciii. Scena terza. Tirsi solo: (O) inserts after “A dio” (line 459). Scene division was evidently omitted originally by (O); circled with a hash mark in margin, indicating line spacing needed. civ. meno > manco (M). cv. Ahi > O (M?). cvi. Ahi > O (M?). cvii. pur > è che (M). cviii. ahi > deh (M). cix. fuor che a > che al mio (M). cx. mio ch’è questo > che mi strugge? (M). cxi. ugna > unghia (M). cxii. un: inserted (M?). cxiii. Oggi (M): replaces a crossed-out, illegible word (possibly poorly transcribed oggi). cxiv. dov’ (T): corrects dove (O).

Partenia, A Pastoral Play 275 cxv. padrone (O) > crossed-out illegible word > marito (M). cxvi. Che vuol dirmi, lasso > Forse avrà che dirmi (M). cxvii. Che è di te? > Che fai? (M). cxviii. Che nulla speme nel mio petto alberga > Che già n’è morta nel mio cor la speme (M). cxix. a Dio (O): self-corrects al ciel. cxx. ciò: (M) inserts after che. cxxi. pur ti dicesse > [pressi] iurasse (M). cxxii. del tuo padron: small letters appear over the text in MS (C), corresponding changed word order in MS (A), padron del tuo. cxxiii. o cielo, o dei > ò Dei, che siete (M). cxxiv. dolgo > doglio (M). cxxv. Line 175: (T) adds bottom margin. cxxvi. Line 211 > Io non so che dirti altro, perché Ergasto (M). cxxvii. Line 294: (T). cxxviii. Partenia, Clori > letters “b”, “A” written above to indicate reversed order > Clori, Partenia (M). This follows convention of listing speakers in order of appearance. cxxix. Convenirmi (M): corrects ungrammatical Converrà (O). cxxx. veglio > vegghio (M). cxxxi. Restata: initial letter unclearly corrected, surmised from MS (A). cxxxii. sentì: abbreviated form of sentite. cxxxiii. Lines 416–17: insertion (O). cxxxiv. Line 431: insertion (O). cxxxv. le mie voglie: (O) self-corrects ogni mia voglia. cxxxvi. [Clo.]: omitted in MS (C); a cross appears in the margin probably to indicate this. cxxxvii. che tu m’accori > che tu mi consumi (M). cxxxviii. migliara: in standard Italian migliaia. cxxxix. Egli m’ha chiesta: (O) self-corrects Ch’egli m’ha richiesta. cxl. ahi sventurato > corpo senza alma (M). cxli. emenda: (O) self-corrects amenda (in standard Italian, ammenda). cxlii. ch’è quel ch’io dico? O ninfa > che dico? O bella ninfa (M). cxliii. Che (O) > cui (M); grammatical correction. cxliv. fascia > spoglia (M). cxlv. chiusi i begli (M): corrects illegible rag … si gli. In MS (A): rachiusi gli. cxlvi. ah lasso > ahi lasso (M). cxlvii. Dei > ciel (M). cxlviii. dio > Dio. cxlix. lor > lui (M). cl. Line 294 > Elpino mio non si vedranno asciutti (M). cli. Per mio mal: (O) self-corrects Divorar. clii. Lines 362–365: (T) inserts bottom margin. cliii. cita (O) > città (M?) (though uncorrected below, line 428). cliv. ei: (O) self-corrects vi. clv. Line 40: (O) inserts.

276 Partenia, favola pastorale clvi. qui > quindi (M?). clvii. fu: (O) self-corrects fei. clviii. Ahi > O (M).

Notes to the Translation 1. The two different subtitles given to the play in the Cremona manuscript (MS.AA.1.33), favola boschereccia and favola pastoral[e], cannot easily be differentiated in English. Although the subtitles were used interchangeably during the period, the cultural circles, led by Muzio Manfredi, that Torelli frequented in the 1580s seem to have distinguished between them in terms of genre (see Introduction, 19–20). The presence of two subtitles in the opening pages of the Cremona manuscript may indicate a change in the conception of the play’s generic status between its original composition and later revision. The first subtitle, favola boschereccia, does not appear in the Biblioteca Angelica, Rome, manuscript (MS 1690). 2. Collecchio lies about seven miles southwest of Parma; the Farnese villa no longer exists. The Duke of Parma referenced here is probably Ottavio Farnese (1547–1586), who died only months after Torelli first completed her play and who may be identified with the wise and magnificent offstage character Ottinio in Partenia (see Introduction, n113; see also appendix A, poem 12 (verse by Silvio Calandra)). Less likely, though possible, is that the Duke refers to Ottavio’s son, the mostly absent military commander Alessandro (ruled 1586–92), or to his grandson Ranuccio (Duke 1592–1627), who was named regent upon Ottavio’s death. 3. For the paratextual verse that precedes the play, see appendix A, poems 1–5. 4. The name “Leucippo” (from the Greek Λευκίππη, “keeper of white horses”), suggests wealth and nobility, as are reflected in Torelli’s character. The name appears in various forms in classical sources, including the feminine “Leucippe” (see Achilles Tatius’s popular hellenistic romance The Adventures of Leucippe and Cleitophon, first printed in Italian trans. in 1550). Torelli’s Leucippo may make coded allusion to the contemporary Venetian dramatist, Angelo Ingegneri (also active in Parma, and a promoter of Partenia), whose pastoral play DV (performed in Parmense circles in 1583, printed in 1584) stars an authoritative, elderly shepherd by this name and is prefaced by a canzone sung by Leucippo (see Introduction, nn. 46, 54, 105). Ingegneri may in turn have drawn on the myth of Castor and Polydeuces’ abduction of Leucippides’ two daughters at the marriage altar. For other allusions to Ingegneri by this name see also Maddalena Campiglia, Flori, 3.6 (Cox and Sampson, eds., 183, 320n73), and Muzio Manfredi, Contrasto amoroso, 4.6. 5. The shepherd Ottinio never appears onstage but his protégé Leucippo repeatedly praises him for his prudence and generosity (see also 1.1.102–19; 5.3.405–10), as do Lice, Talia, and Coridone later in the play. Leucippo’s particular devotion to Ottinio may reflect Ingegneri’s indebtedness to his patron, Duke Ottavio Farnese, while in Parma 1581–84; see also A. Siekiera, “Ingegneri, Angelo,” DBI, 62 (2004), 358–60. 6. Pan, the god of forests, pastures, shepherds and their flocks, was half-man and half-goat and was associated also with earthy sensuality and love, especially in his famous pursuit of

Partenia, A Pastoral Play 277 the nymph Syrinx (Ovid, Metamorphoses, 1.691). Manfredi’s alteration of “so readily” to “so gladly” underscores the affective dimension of Tirsi’s friendship. For the tradition of male friendship, which draws especially on the thought of Plato, Aristotle and Cicero, see Reginald Hyatte, The Arts of Friendship: The Idealization of Friendship in Medieval and Early Renaissance Literature (New York: E. J. Brill, 1994). 7. Tirsi’s premonition in lines 65–66 about revealing his love (for Partenia) foreshadows later developments in Act 4, though not the play’s conclusion. 8. Aurora (in Greek, Eos) was the goddess of the dawn and sister of Apollo, god of the sun, and Diana, goddess of the moon. She was typically represented rising from the sea on her chariot drawn by winged horses to chase away the stars and was associated with the colors rose and gold (or saffron). Manfredi’s correction of “[Aurora] was just departing” to “was just appearing” emphasizes Tirsi’s early rising. 9. In the Italian, Tirsi frequently shifts to the historic present tense, heightening the immediacy of his account of his first encounter with Partenia (see also 1.1.127–41; and the description by Lice’s beloved of a bad omen, 1.4.626–29). We have indicated such instances in the English translation, but have rendered them in the past tense to avoid the unnatural sound of fluctuating tenses. Lines 127–84 of the original Italian draw copiously in style and imagery on the stil novo tradition, exemplified by Dante’s Vita Nova, and on Petrarch’s RS. The verbal echoes of Dante’s Inferno, 1 (e.g., “traviar dal bel sentier,” line 80; “quel dritto sentiero,” line 127) bring a moral and religious note to Tirsi’s love. 10. Tirsi’s description of Partenia’s physical beauty features conventional Petrarchan imagery. His praise of her virtue and “celestial harmony” (i.e., her voice), on the other hand, draws more on the neoplatonic idea of love being stirred by earthly beauty (stimulated especially by sight, hearing, and reason), whereby the soul is drawn up closer to God (Ficino, Commentary on Plato’s Symposium on Love, 2.5.85). 11. Ottavio Farnese implemented numerous important architectural projects in Parma, as well as agrarian reforms in the region (Drei, I Farnese, 155–66). 12. Lines 127–46: Tirsi shifts to the historic present tense. See above note 9. 13. The goddess is Diana (also known as Cynthia, Delia, and Phoebe, and linked to the Greek Artemis), a virgin huntress surrounded by an entourage of nymphs. In pastoral literature and art, she was frequently represented as a powerful symbol of female autonomy (Patricia Simons, “Lesbian (In)visibility in Italian Renaissance Culture: Diana and Other Cases of Donna con Donna,” Journal of Homosexuality 27 (1994): 439–48). A fierce defender of chastity, she also acted as a protector of marriage and childbirth and was associated with the moon. 14. The Italian “Il passo movo tardo e lento” (line 133) echoes Petrarch’s famous sonnet, often set to music, “Solo et pensoso” (RS, 35, lines 1–2). 15. The Platonic idea of exterior beauty reflecting that of the soul within was widespread in Renaissance poetry and was canonized by Petrarch, RS, 37, 57–61; 72. See, for example, Robert Herrick, “The Lily in a Crystal” (Hesperides, 1648); and Lina Bolzoni, Il cuore di cristallo. Ragionamenti d’amore, poesia e ritratto nel Rinascimento (Turin: Einaudi, 2010). Torelli’s sources for depicting Tirsi’s ennobling love for Partenia include: Boccaccio, Ameto (or Comedia delle ninfe fiorentine), Book 3; Decameron (day 5, tale 1); and Ingegneri, DV

278 Partenia, favola pastorale (1.2.140–240, in which the mad shepherd Coridone is healed by seeing and falling in love with Amarilli). 16. The flowers (amaranth, hyacinth, and violet) are associated respectively with immortal and incorruptible beauty, apotheosis, and virginity (see Ambrose, Concerning Virginity, 1.9.45. http://www.newadvent.org/fathers/34071.htm (accessed October 30, 2011)). 17. Compare Petrarch, RS, 126 (“Chiare fresche e dolci acque”). Torelli carefully desensualizes the typical pastoral scenario of an unseen shepherd observing his beloved nymph bathing, which follows the myth of Diana and Actaeon (Ovid, Metamorphoses, 3.138). 18. The Italian “morto” (dead) is emphasized by its repetition three times in initial position (lines 161–63). 19. Tirsi’s being overpowered by the effects of love echoes Dante’s Inferno 5.142. 20. For the conceit of the beloved’s imprint on the landscape, see Petrarch RS, 126, 192 (line 1, “Stiamo, Amor, a veder la gloria nostra,” echoes Partenia, 1.1.173); also Ovid’s Heroides (15.145–50, Sappho’s letter to Phaon). 21. Compare Petrarch, RS, 141; Camillo Malaspina, appendix A, 5. 22. Pastoral plays, starting with Agostino Beccari’s Il Sacrificio [The Sacrifice] (1555), were commonly framed by religious festivals, though, as in Beccari and Torelli’s plays, these often remained offstage, as was advocated in Ingegneri’s DPR, 16–17. Important exceptions are Maddalena Campiglia’s Flori (1588), 3.5; and Battista Guarini’s PF (first printed in 1589, 4.3–4). 23. We have added this and subsequent stage-directions in square brackets for the sake of clarity; they do not appear in the Italian original, following current conventions for erudite drama. This practice diverged from that of professional commedia dell’arte dramatists and could produce practical difficulties (Andrews, Scripts and Scenarios, 43–45, 73–74). 24. This single reference to the herdsman of Leucippo, Montano (a common pastoral name used, for example, in Sannazaro’s Arcadia and in Guarini’s PF), is a reminder of the latter’s wealth and status as a master. 25. Another reference to Ottinio (see above notes 2 and 5). 26. Leucippo’s words foreshadow the conclusion of the play, when his father’s identity is revealed and his competing claims of love and friendship are resolved. 27. Cupid, the mischievous god of Love and son of Venus, is traditionally depicted as a blindfolded boy wielding a bow and arrow. To justify his yielding to love, Leucippo presents a catalogue of great gods or goddesses who, as a result of Cupid’s arrows, succumbed to their passion for both female and male lovers. Compare the prologue to Campiglia’s Flori (lines 11–29), in which Love boasts of similar paradoxical feats, expanding on Tasso’s Aminta (Prologue, 5–9). 28. Phoebus is another name for Apollo, who is the son of Jove, associated with the sun, and the god of poetry, music, prophetic inspiration, and healing. Apollo is here recalled for his feat in slaying a monstrous python and for his skills in music and poetry, which, as Ovid’s Metamorphoses makes clear, did not protect him from falling in love many times. Cupid first made Apollo fall for the recalcitrant nymph Daphne, whom he lost when she was transformed into a laurel tree; later he seduced Leucothoe, the daughter of the Greek King Orchamus, in the form of her mother; for this, the girl was buried alive and turned by Apollo

Partenia, A Pastoral Play 279 into a shrub of frankincense (Metamorphoses, 1.628; 4.263). For Mount Parnassus, sacred to Apollo and the muses, see appendix A, n92. 29. Apollo served Admetus, whom he loved, as a herdsman for a year as penance for killing the Cyclops (Euripides, Alcestis; Callimachus, Hymn “To Apollo,” 2.47–49; Virgil, Georgics, 3.2). 30. Jove variously took the form of an eagle, a swan, and a bull to win over mortals: respectively, Ganymede, a handsome and youthful shepherd who became his lover and cupbearer; Leda, the Queen of Sparta; and Europa, a princess of Tyre. As observed in note 17, Torelli minimizes the references to indecorous erotic or homoerotic aspects in her examples. 31. Mars (Ares), the son of Jove and Juno and the god of war, enjoyed an adulterous affair with Venus (Aphrodite), until her husband, Vulcan, discovered it (Ovid, Metamorphoses, 4.234; Homer, Odyssey, 8.267–366). This mythological coupling of Love and War was often used in Renaissance art and literature to represent the unification of opposites. 32. Venus, the mother of Cupid, fell in love with the handsome, young shepherd Adonis, who despite her warning about wild beasts was gored to death by a wild boar while hunting. She instituted annual games in his honor and transformed his blood into an anemone (Ovid, Metamorphoses, 10). 33. Hercules, the son of Alcmena (and Jove), was frequently used as a cautionary example of the potential of love to destabilize social order and to conquer and effeminize even the strongest of men. Hercules’ heroic feats included killing Antaeus, the giant son of Poseidon and Earth, and performing twelve heroic labors, which brought him divine status. Four of these are alluded to here: his destruction of the Hydra, whose poisonous blood was used thereafter for his arrows; his slaying of the Nemean lion, whose skin he then wore; his taming of Cerberus, the monstrous three-headed dog who guarded the entrance to the underworld; and his retrieval of the golden apples kept by the Hesperides at the world’s end in exchange for holding up the world for the Titan Atlas. By contrast, Hercules’ infatuation with Omphale, queen of Lydia, led him to dress as a woman and to spin alongside her handmaidens. Iole, daughter of the king of Oechalia, was Hercules’ final lover and indirectly caused his death when a jealous rival to his affections (Deianeira) sent him a poisoned garment to wear. 34. Paris is the Idean shepherd to whom Venus promised the beautiful Helen of Troy, wife of his kinsman Menelaus, after he selected the goddess as the winner of a beauty contest—the so-called Judgment of Paris—defeating Juno (Hera) and Minerva (Athena). Helen’s abduction ignited the devastating and protracted war between the Trojans and the Greeks that left Troy in flames (Homer, Iliad 2.160–163; Virgil, Aeneid 2.567–88). See also note 64 below. 35. The name “Partenia” means virgin (from the Greek parthenos), see Introduction, 33. This character’s first appearance on stage emphasizes her devotion to virginity through her worship of the chaste goddess Diana and demonstrates her attention to the prescribed female virtues of humility, piety, and obedience. 36. Talia is one of the nine mythological muses, associated with comedy and idyllic poetry. On the identification of the character Talia with the author, and the association between Talia’s name and her structural function in Partenia, see Introduction, 9–10, 29–30, also 38–40.

280 Partenia, favola pastorale 37. Compare Tasso’s description of the virtuous lady in his Discorso della virtù femminile, e donnesca (Venice: Bernardo Giunti, e fratelli, 1582), dedicated to Eleonora d’Austria Gonzaga, the Duchess of Mantua. 38. On the conventional dialogue in pastoral drama for and against love and on other critiques of male behavior, see Introduction, 32, 33n80, 39–40. 39. Diana appears in three forms: as the goddess of the moon, the goddess of the hunt, and the goddess of the underworld (C. M. C. Green, Roman Religion and the Cult of Diana at Aricia (Cambridge: Cambridge University Press, 2007), 78–79). She fell in love with the handsome, young mortal Endymion after seeing him sleeping naked in a cave on Mount Latmos in Caria (in Asia Minor), and visited him nightly thereafter as the moon goddess, eventually bearing him fifty daughters. 40. Jove was ruler of the heavens, while Pluto was king of the underworld. The classical rhetorical figure of adynaton (coupling two impossible events), used prominently in Virgil’s Eclogues, was frequently found also in Italian pastorals (e.g., Sannazaro, Arcadia 3 (Prose, p. 102); Tasso’s Aminta, 1.1.43–46). See H. V. Canter, “The Figure of Adynaton in Greek and Latin Poetry.” American Journal of Philology 51, no. 2 (1930): 32–41. 41. The device of eavesdropping characters hidden from view of another speaker was widely used in plays of the period, following especially Roman comedy (Plautus). This device provided the opportunity to deliver commentary, heighten dramatic irony, and break up long speeches, as Ingegneri recommends in DPR, 13–14. 42. The name “Lice” is unusual in pastoral drama, which tends to draw on a limited repertoire. The name may derive from the Greek Lycaeos (Λύκαίος), meaning “Arcadian,” perhaps echoing the various mournful shepherds found in Sannazaro’s Arcadia; and may be linked with Lycos ((λύκος), “wolf.” The god Apollo was also known as Lyceius, perhaps because he protected flocks against wolves. This latter meaning may suggest an obscure biographical allusion to the Lupi family, whose name in Italian means “wolves.” 43. The circle of the moon was, in the Ptolomaic system, the closest of the celestial spheres surrounding the earth. The Italian “non chiude il cerchio della luna” (line 437) echoes references in Ariosto’s OF to the divinely ordained journey Astolfo made to regain the wits of Orlando, who had been driven mad by the loss of the beautiful pagan, Angelica (34.67.3, “Nel cerchio della luna a menar t’aggio” (I have to lead you to the circle of the moon)); see also the more playful reference 35.2.1–3. Lice by contrast seems to reject any hope of salvation from his state of excessive grief. 44. Venus is referred to here; she was the goddess of earthly love and sensual pleasure, and was judged by Paris as the most beautiful of three goddesses (see above note 34). 45. Writing on trees of requited or unrequited love was a common topos in pastoral writings, dating to classical times (see Virgil, Eclogue 5, lines 13–14; Eclogue 10, lines 53–54). The topos was often used in early modern pastoral drama and in pastoral episodes in epics and romances; see Sannazaro, Arcadia, 5 (prose, p. 97), 11 (Eclogue 1. 15, p. 206); Ariosto, OF 23.102–9; 19.36; Tasso, GL 7.19–20. Partenia is unusual in featuring a female character doing the writing (Talia, see 3.1.300–03), as is Campiglia’s Flori, 2.2. On the representation of female creativity in early modern, female-authored pastoral drama, see Cox, “Prodigious Muse,” 110–11.

Partenia, A Pastoral Play 281 46. In classical mythology there were three Furies: Allecto, Tisiphone, and Megaera. These were the goddesses of retribution against the guilty and were typically portrayed in the underworld or as supernatural presences hounding those guilty, especially, of family transgressions like murder. See, for example, Homer’s Iliad, 9.571; Aeschylus’s Oresteia (Choephori and Eumenides); and, within a Christian scheme, Dante, Inferno, 9.38–51. 47. Torelli here shows a mannerist taste for paradoxical conceits, playing with the many notions of death/life: Lice speaks of Death personified, of the literal death of his beloved, and of his own metaphorical death through grief. His is a paradoxical state of living death, being alive in body but unable either to join his soul with his lover’s soul according to the neoplatonic model or to join her in the afterlife. 48.According to Greek myth, Elysium (or the Elysian Fields) is a pleasant part of the underworld reserved for virtuous souls (see Homer, Odyssey, 4.563–4; Virgil, Aeneid, 6.744–52). 49. In Italian morte (“death”) is a feminine noun, but it is translated here with a masculine personification, reflecting English usage. 50. Antiniana, a wise and holy woman, remains offstage throughout the play (she is referred to also in 3.1.182–87). The name recalls that of the nymph linked with Giovanni Pontano’s villa, in Antignano near Naples, which inspired his pastoral writings (Shulamit Furstenberg-Levi, “The Fifteenth-Century Accademia Pontaniana: An Analysis of its Institutional Elements,” History of Universities 21, no. 1 (2006): 38–39). For the possible associations of Antiniana in Partenia, see Introduction, 39 and Burgess-Van Aken, Barbara Torelli’s Partenia, 11. 51. The first of May was traditionally associated in pastoral writings with festive celebrations of fertility and religious rituals. Ingegneri’s DV is set on this day, which is dedicated to Venus. May celebrations are associated also with Flora, the Roman goddess of flowers in Ovid’s Fasti (5.183–375). 52. The Italian “fiera” (“beast”) seems to refer to a mortal illness. 53. Torelli plays with the classical conceit of art concealing nature, which recalls Tasso’s description of Armida’s garden in GL (16.10.1–4), though here without the same moral emphasis. The question of the relationship between art and nature, and the relative merits of each, was much disputed in the Renaissance, and was often explored in a paradoxical and self-conscious way in pastoral writings (cf. Partenia’s hair “negletti ad arte” (artfully neglected), 4.2.146; see also Sampson, Pastoral Drama, 87–90). 54. Portentous dreams or visions indicating future events, albeit not always reliably, were frequently used in tragedies and epics (following Seneca and Virgil especially) and were borrowed in pastoral drama to elevate the genre (see, for example, Guarini, PF, 1.4; Annotationi to PF (1602), fols. 40r–41v). Torelli’s example here of a truthful tragic dream compares with Partenia’s dream (4.4.349–65), and specifically evokes the tragic affects of horror and fear. 55. A crow is a medieval omen of ill-fortune and death. The transition in the Italian to the historic present tense here (line 626) heightens the vividness. 56. This episode recalls the fate of Eurydice, the beloved nymph of Orpheus, that archetypal pastoral poet-lover and the subject of one of the first celebrated secular Italian plays, Poliziano’s Orfeo (ca. 1480) and of the first surviving opera (Claudio Monteverdi and Alessandro Striggio’s Orfeo, first performed in 1607).

282 Partenia, favola pastorale 57. The nymph’s injunction against suicide upholds Christian precepts, which follows the general pattern of the play, despite its copious references to classical mythology. In this respect Torelli follows the prescriptions of Ingegneri in DPR, 16; see Riccò, BMP, 327. 58. The nymph’s words again recall the classical myth of Orpheus and the theme of love enduring beyond death, a theme also explored in Guidubaldo Bonarelli’s pastoral drama, Filli di Sciro (printed in 1607). 59. The “fortunate man” is Orpheus, who with his singing moved Pluto the king of the underworld to allow him to visit this realm while still alive, and to bring Eurydice back to earth, as long as they could resist turning back on the way. However, Orpheus failed (see lines 730–31). The Stygian Realm is a reference to the underworld, where the river Styx was thought to flow. 60. The nymph’s tomb is an important symbolic (offstage) locus in Partenia, and a focus for the themes of death and transcendence (see 5.4). Tombs play an important part in Italian early-modern, pastoral writings: see Sannazaro’s Arcadia, especially 5 (99–105), 10 (prose, 177–78), and 11 (195–211); and Tasso’s GL 12.96–99 (e.g., Tancredi’s lament at the tomb of Clorinda) and Rogo amoroso (completed 1588). Torelli’s unusual inclusion of this theme in her pastoral drama may have inspired Maddalena Campiglia’s Flori, Acts 1–3 (which features the tomb of Flori’s female companion, Amaranta); see Cox and Sampson, 16, 315n24. On the long classical tradition of pastoral elegiac verse for commemorating dead friends— including Bion, Idyll 1; Moschus, Idyll 3; Virgil, Eglogue 5—see Ellen Zetzel Lambert, Placing Sorrow: A Study of the Pastoral Elegy Convention from Theocritus to Milton (Chapel Hill: University of North Carolina Press, 1976). 61. Pastoral plays from the period frequently feature a temple dedicated to Diana. The temple could often serve as a locus for offstage action (as it does in Partenia). Sometimes they could be represented on stage very elaborately, as for the 1587 Sassuolo performance of Beccari’s Il Sacrificio; compare also the engravings to the 1602 edition of Guarini’s PF. 62. Tirsi refers to the trick the Greek Acontius employed to extract a vow before Diana from his beloved Cydippe, whose father had already promised her to another man (Ovid, Heroides, 20–21). Indeed, Partenia’s response to Tirsi parallels Cydippe’s to Acontius: she admits that she would break the oath were it not for her fear of retribution from the gods (4.4); and she chides Tirsi for not pursuing her honorably (5.2). 63. The name Coridone also belongs to the lovesick shepherd burning with passion for Alessi in Virgil’s Eclogue 2. Interestingly, a shepherd by this name—an authoritative spokesman for marital love—appears also in Isabella Andreini’s Mirtilla (1588, see 4.2); another Coridone appears in Guarini’s PF, here, a lover of the faithless nymph Corisca. For the hypothesis that Coridone in Partenia represents Torelli’s husband, see Introduction, 9–10. 64. A reference to the legendary beauty, the Greek Queen Helen (see above note 34), who was often used as a negative example of the effects of female beauty and lust (Ovid, Heroides, 5; Boccaccio, De claris mulieribus (Famous Women), 35.2; 37). For a more sympathetic view of her as a victim of Paris, see Moderata Fonte, The Worth of Women, ed. Cox, 93. 65. Phaedra, the wife of Theseus in Euripides’ tragedy Hippolytus, was made to fall in love with her stepson Hippolytus through the vengeful machinations of Aphrodite (Venus). When Hippolytus was revolted by her passion she killed herself, leaving a note in which she

Partenia, A Pastoral Play 283 falsely accused him of rape. Theseus did not believe his son’s protestations of innocence and banished him, placing a mortal curse on him. He learned of his son’s innocence and was forgiven as Hippolytus was dying. Both of Muzio Manfredi’s verses for Partenia specifically compare the play’s heroine to Phaedra, praising Torelli’s representation of humble and appropriate loves (appendix A, poems 1 and 11). 66. Coridone refers to the misogynistic topos of women’s natural inferiority that was still current in Torelli’s day. This topos stems from the combination of Aristotelian biological thought with the early Christian view that women were more prone to sin. Although Coridone later retracts his doubts about Talia’s virtue, he does not alter his fundamental opinion about the female sex. 67. Coridone reverts to another misogynistic view that women of lower status were more inclined to commit moral errors (cf. Tasso’s Discorso della virtù). 68. Manfredi emends “ever more” to “for you merit it,” thereby avoiding repetition and adding a more personal quality. 69. Leucippo’s unspecified sense of foreboding about his desired union with Partenia provides the first hint of the obstacle to his love, as revealed in Act 5, scene 3. 70. The question of the value of earthly riches is a key theme in Torelli’s Partenia, and recurs in her verse, see Introduction, 12, 20, 36–37. Torelli draws on tragedy’s moral and political explorations of this issue, and on pastoral drama’s often ambiguous treatment of it. The latter genre typically presented shepherd-lovers as wealthy, pseudo-courtly figures, yet worldly riches contravene the “pure” pastoral values of simplicity and humility that were associated with the mythical Golden Age. For satirical treatments of the theme (often by marginalized figures) see, for example, Tasso’s Aminta (the Satyr, 2.1; and the first Golden Age chorus); Guarini’s PF (the character Corisca); Gabriele Chiabrera, Gelopea (the character Nerino). (Mondovì: Henrietto de Rossi, 1603). 71. At the end of each day, the sun god (Apollo, or Helios) returned on his four-horsed chariot to Diana (or Selene), the moon goddess, who awaited him before she could depart (Hesiod, Theogony, 371). “Regular” humanist drama typically observed the neoclassical principle of “unity of time” (which was not a classical concept), whereby the action took place within a single day, often understood to last from sunrise to sundown. 72. Satyrs were wild, semidivine beings originally associated with the woodland god Pan. Like Pan, they were half-man and half-goat. They are frequently represented in pastoral drama as comic or satirical foils for the noble-minded shepherds, or as figures of lust and violence (see Ornella Garraffo, “Il satiro nella pastorale ferrarese del Cinquecento,” Italianistica 14 (1985): 185–201; Jane Tylus, “Colonizing Peasants: The Rape of the Sabines and Renaissance Pastoral,” Renaissance Drama 23 (1992): 113–38. The name Cromi comes from Virgil’s Eclogue 6, and was used for satyrs in Giambattista Giraldi’s Egle (1545) and Cesare Cremonini’s Le Pompe funebri (The funeral rites) (Ferrara: Vittorio Baldini, 1590). Like Tasso’s satyr (Aminta, 2.1), Cromi appears only alone on stage; uncharacteristically, Cromi never encounters the nymph in Partenia, as other satyrs do in the pastoral plays by Cremonini, Andreini, Campiglia, and Miani (see Cox, “Prodigious Muse,” 112–14). 73. For Pan, see note 72. It is a commonplace in pastoral drama for a satyr to insist on his divine status, compared to his rival shepherd-lovers (who here are unusually given a

284 Partenia, favola pastorale semi­divine status), and to praise his physical charms. This arrogance provides an occasion for the audience to laugh at the character, and his base, instinctual nature. Torelli adds a note of impiety to Cromi’s enmity toward Partenia’s goddess, Diana. 74. Ergasto and Elpino are both traditional pastoral names, probably derived respectively from the Greek ἐργαστήρ (labourer) and ἐλπίς (hope), and were also used for characters in, for example, Sannazaro’s Arcadia and Tasso’s Aminta. 75. Pastoral drama (like comedies, tragedies, and romances) frequently used the device of lost children who were later identified to effect the necessary plot reversal and happy outcome (see, for instance, Guarini’s PF). 76. For the device of adynaton, see above note 40. 77. Coridone seems to allude to the classical idea of the wheel of fortune, and also the Aristotelian principle of tragedy, which brings down characters of the highest social status in order to engender in the audience the maximum feelings of pity and fear (Poetics 53baI– 54a16). 78. In this rather allusive statement, Talia seems to be referring to the neoplatonic idea of love progressing from a mortal to a spiritual level. See Introduction, 32–33. 79. The play provides no stage-directions (see above note 23), but it seems that Coridone may have spoken his humble words on bended knee. 80. Diana prescribed the rule of chastity for her nymphs and could expel unchaste nymphs from her entourage, or inflict more severe punishments on society generally (see Guarini’s PF). Her vengeful side is highlighted in Partenia’s terrifying vision (4.4). 81. For Antiniana, see above note 50. 82. Talia’s speech in the Italian here moves into the present tense (“mi fermo”) to convey immediacy. 83. Here, Torelli avoids the dramaturgical fault of unnecessarily repeating material about her encounter with Lice, following Ingegneri’s prescriptions (DPR, 14). Talia’s description picks up the action where it left off at the end of Act 1. 84. Mongibello refers to Mount Etna in Sicily. 85. The “best part” of Lice is of course his soul, which, following the neoplatonic idea of love, dwells within his beloved nymph. Lice thus, in contrast with Partenia, lacks an awareness of the eternal and transcendent nature of the soul and demonstrates an excessive attachment to the mortal body and earthly love, as well as to the tomb that represents this. For more on same theme, cf. Campiglia’s Flori, Acts 1–3 (i.e., Flori’s obsession with her dead female companion Amaranta); Cox and Sampson, “Introduction,” 24–25; Warren Smith, “Romeo’s Final Dream,” Modern Language Review 62, no. 4 (1967): 579–83. 86. For the significance of writing on trees, see above note 45. 87. Talia’s “Amor vince ogni cosa” echoes Virgil’s Eclogue 10.69 (“Omnia vincit amor”). A reference to the god Love (Cupid) is rare in Partenia, in which the chaste Diana remains almost exclusively the only divine point of reference, unlike in most examples of pastoral drama, which were framed by the struggle between Cupid and Diana. 88. In the Italian, Manfredi emends “O gods” to “O fate” to neutralize the religious aspect. 89. Coridone’s mistaken belief that Tirsi already knows about Leucippo’s love for Partenia forms the basis for this scene’s dramatic irony.

Partenia, A Pastoral Play 285 90. Echo was a mythological nymph condemned by divine intervention not to speak except by repeating the last syllables of others. Her love for the vain shepherd Narcissus went unrecognized and she ended up dying of grief, leaving behind only her voice. Pastoral drama of the sixteenth-century frequently used the device of a responsive echo, following classical and humanistic literary precedents. Echo scenes offered opportunities for dramatic effect and poetic bravura. They could also serve a structural purpose, by revealing future events through cryptic replies, as famously in Guarini’s PF (4.8, see also the commentary in the 1602 edition, fols. 177r–178r). See Introduction, n68. 91. For a reference to the traditional iconography of Cupid as being blindfolded, see above note 27. 92. Partenia follows Aristotelian-inspired biological writings, which give the male sole responsibility for generation as the active principle and form; the female merely provides the inert matter. This seems to parallel the Christian account of the Creation. Partenia’s mother is mentioned in the play only briefly, and somewhat negatively, in relation to her long-lost brother (5.3). 93. Partenia’s feeling of unease parallels that of Leucippo (2.3); cf. note 69. 94. The “searing flame” in Partenia’s heart is most likely the work of the vengeful Diana, rather than of Cupid’s invisible arrows which inspire love (as predicted by Ottinio (1.4); and as desired by Talia and Coridone (3.1)). 95. Manfredi emends the original Italian “padrone” (master, or lord) to “marito” (husband). 96. Compare Leucippo’s earlier sense of foreboding about his love for Partenia (2.3). 97. Compare Luke 1:34. 98. Compare Luke 1:38. 99. Compare Luke 1:42. 100. Following classical models (such as Virgil’s Eclogue 5), pastoral plays often mention gifts given to beloved nymphs, or the victors of competitions. These gifts range from simple, pastoral offerings to exquisite works of art that are sometimes described in detail, using the rhetorical device of ekphrasis, and playfully blend the concepts of Art and Nature, as in this play. 101. It is unclear what is meant by the colors that together “indicate a noble mind” (“insieme aggiunti / Mostrano altezza di pensier”). This may be an allusion to symbolic Christian colors, such as white for purity, and blue for heavenly grace. 102. Ottavio Farnese had many affairs, four of which produced illegitimate daughters (Solari, House of Farnese, 53). The “nymph” referred to here may be the aristocrat Barbara Sanseverino Sanvitale, who was renowned for her beauty and with whom the Duke was supposedly in love (Burgio, Donne di Parma, 60). From 1559 he lived apart from his wife, Margaret of Austria, who in that year became governor of Flanders, until her death in 1586. 103. The inscription on the harness of Leucippo’s goat presents a curious antithesis to the one on the collar of the white deer in Petrarch’s sonnet (RS, 190.11): “libera farmi al mio Cesare parve” (“It pleased my Caesar to make me free”). The goat’s willing submission to his master seems to playfully parallel Leucippo’s own obedience to Ottinio (his patron) and, by extension, the ideal patronal relationship, which was underpinned by political and familial obedience and which Torelli may have been trying to promote for opportunistic reasons.

286 Partenia, favola pastorale 104. Clori (Chloris) was an archetypal pastoral name for a nymph, deriving from Flora, the goddess of flowers (Ovid, Fasti, 5). 105. Aeolus, the god of the winds, had twelve children—six daughters and six sons (Homer, Odyssey, 10.1.1–12). Torelli seems to be alluding here, albeit very decorously, to the problematic themes of incestuous love and suicide, as depicted in Sperone Speroni’s well-known tragedy Canace (composed in 1542). This tragedy presents the doomed love between Aeolus’s twins Canace and Macareo, a love that ends with their suicide and the murder of their child. See Sperone Speroni, Canace e Scritti in sua difesa, Giambattista Giraldi Cinzio, Scritti contro la Canace, Guidizio ed Epistola latina, ed. Christina Roaf (Bologna: Commissione per i testi di lingua, 1982); cf. the different version in Ovid’s Heroides, 11. 106. For more on the Furies, see above note 46. 107. The “chaste goddess” is of course Diana; see above note 13. 108. For the actual words Partenia spoke, see 5.2.79–80. 109. Partenia’s method of suicide recalls the one Tirsi adopted (unsuccessfully) in Tasso’s Aminta (4.2). 110. Torelli takes the device of a messenger describing a protagonist’s death offstage from classical tragedy; many critics (including Giambattista Giraldi Cinthio and Lodovico Castelvetro) followed Horace’s Ars poetica in considering death too unseemly to show on stage. Rhetorical descriptions like Torelli’s often appeared in pastoral dramas written after Tasso’s Aminta; see Tasso, Aminta, 4.1 (i.e., the apparent death of Silvia) and 4.2 (i.e., the apparent death of Aminta). The messenger’s speech allowed for a bravura recitation, and the role was often given to an experienced actor (Andrews, “Tragedy,” 88). 111. The first part of Clori’s account (lines 72–110) repeats much of her earlier exchange with Partenia in Act 4, scene 4. Lines 112–268 provide new material, and represent the lovers’ (offstage) meeting. 112. For more on the Furies Allecto and Megaera, see above note 46. 113. The reference to the Monte Armato (“Armed Mountain”) evokes a real mountain approximately thirty miles east of Collecchio. 114. At line 117 Clori’s account switches to the present tense and the deictic markers change from there to here, creating greater immediacy for the audience. 115. The “tyrannous lord” is Cupid, the god of love (though cf. note 27); for the topos of the unsuspecting victim of Love, see Petrarch, RS, 3. 116. Manfredi emends “ah, woe is me” to “a body without a soul” in order to emphasize Ergasto’s grief and the strength of his paternal love. 117. Tirsi’s interrupted attempt at suicide with an arrow draws again on Tasso’s Aminta, 3.2. Since Tirsi never injures himself, Torelli can more plausibly represent his return to life and avoid representing suicide, which was considered inappropriate in both theological and dramaturgical terms (see above note 57); cf. the speech against suicide in Pomponio Torelli, Merope, Chorus I, lines 497–502. 118. Hymen, the son of Venus (Aphrodite), is the god associated with marriage and the loss of virginity, and was typically represented holding a flaming torch, such as was carried immediately in front of the bride in ancient Roman marriage processions.

Partenia, A Pastoral Play 287 119. Compare Partenia’s change of heart toward Tirsi with that of Silvia toward Aminta, whom she also wishes to bury honorably before committing suicide herself (Aminta, 4.2.155–72); cf. also Tancredi’s burial of Clorinda after he unwittingly killed her (Tasso, GL, 12). 120. Assuming that the shepherd’s tomb referred to here is that of Lice, we note that the play does not indicate how Partenia has found out about Lice’s fate. 121. This and the following sentence again mix present and past tenses to create a heightened sense of immediacy. 122. Manfredi’s emendment of “Dei” (Gods) (line 281) to “ciel” (heaven) points to a more Christian perspective, which is also reinforced by the capitalization of Dio (line 285) and the change in line 289 of “lor” (them) to “lui” (him, with reference to God). However, these changes are not effected consistently. 123. In neoplatonic thought, the body is an earthly prison for the divine soul. 124. The section that follows contains many often-obscure extratextual allusions to events and contemporary figures known to Barbara Torelli. Pallantio was a pastoral pseudonymn used by Girolamo Pallantieri, a priest, poet, and member of the Innominati Academy who wrote a sonnet in praise of Partenia (appendix A, poem 4). Pallantieri came from a distinguished, though apparently not noble, family from Castel Bolognese, where he served as a archpriest (arciprete) from 1571 until his death in 1591. Muzio Manfredi explains the origin of the pseudonym Pallantio in his posthumous edition of Pallantieri’s translation of Virgil’s Eclogues (La Bucolica di Virgilio (Bologna: Per Vittorio Benacci, 1603; repr. Parma, Fratelli Borsi, 1760), 1), in which Manfredi describes Pallantieri as being “so close a friend, that it is impossible to be closer” (Dedicatory letter, VII). See also below note 129. 125. Leucippo’s words are ironically prophetic in the light of the recognition that follows. 126. Calisa is the pastoral pseudonym adopted by Isabella Pallavicino Lupi, dowager Marchioness of Soragna (near Parma). It is an apparent play on her name, combining the Greek “kalos,” meaning beautiful, with “Isa,” from her name. On Pallavicino Lupi, see Introduction, 11, 22n53, 27, 43. 127. The river Taro is a southern tributary of the Po, the main waterway that runs through Northern Italy. It runs a few miles to the west of Parma, near Collecchio where the play is set. 128. In line 391 the Italian of the Cremona manuscript is self-emended from “as long as he lived there” to “as long as he lived.” This might suggest that Pallantieri (d. 1591) is no longer alive at the time of the transcription of the play, and so may provide an internal clue for the dating of the manuscript. (The Rome manuscript has only the corrected form.) 129. The reference to Pallantio’s “misfortune” is obscure, but it may relate to Pallantieri’s banishment to the Convento dell’Osservanza in nearby Imola in 1576, possibly as a result of writing some provocative satires in Italian and Latin (see Paolo Grandi’s entry on Pallantieri, based on G. Emiliani, “Cenni storici e biografici di Castel Bolognese,” ms, Biblioteca Comunale di Castel Bolognese, http://www.castelbolognese.org/girolamopallantieripoeta. htm (accessed June 8, 2009). 130. Here, Torelli makes use of the Aristotelian device of recognition (anagnôrisis) through tokens and circumstantial evidence (Poetics, 52a29–31). The convention was commonly

288 Partenia, favola pastorale used in tragedies and comedies, as well as in Greek romances, and was incorporated into sixteenth-century pastoral drama, most evidently in Guarini’s PF, see Introduction, 29. 131. With Leucippo’s statement, “I was the cause of your deaths,” Torelli commits something of a dramaturgical fault, since Leucippo has at this point not yet been told about the circumstances of Tirsi and Partenia’s deaths and knows nothing about the divine vow that Partenia made. 132. Coridone presumably refers to saving the lives of Partenia and Tirsi at the tomb of the dead nymph. No mention is made of Lice’s fate. 133. On Partenia’s resistance throughout the play to earthly love, which is uncharacteristic in contemporary pastoral dramas, see Introduction, 33. 134. Carino is a common pastoral name for a shepherd; see, for example, Sannazaro’s Arcadia, and Guarini’s PF (where Carino is the name of Mirtillo’s elderly father, who triggers the recognition sequence in Act 5). 135. Talia’s revival of the lovers using her knowledge of natural remedies—a skill traditionally associated with wise women—famously recalls the scene in Tasso’s epic GL, in which Erminia cures Tancredi; and in Ariosto’s OF (drawing on the ancient examples of Medea and Circe) between Angelica and Medoro. See also Tasso’s Aminta, 1.2 (i.e., Silvia’s curing of Aminta’s bee sting), and Introduction, n97.

Appendix A Paratextual verse for Barbara Torelli Benedetti, Partenia (MS Cremona, Biblioteca Statale, AA. 1. 33) The Cremona manuscript of Barbara Torelli’s Partenia presents fifteen verse compositions by twelve named poets on unnumbered folios surrounding the play text. Five sonnets by four poets appear between the cast list and the text of the play (fols +2v–4v). Directly following the play there are ten verse compositions (madrigals and sonnets) by one anonymous and eight named poets (fols [70v]–[75r]). The transcribing hands are problematic to identify, but some of the verse compositions appear to be copied by Torelli herself (especially nos. 1, 9, 11, 15) and others may be in the hand that transcribed the original play text (for example, 14). The verse by Camillo Malaspina (5) is in a professional hand not found elsewhere in the manuscript. The manuscript of Partenia in the Biblioteca Angelica, Rome (MS 1690; hereinafter (A)) includes only nine of these paratextual poems. Those omitted (9, 11–15) may represent later compositions. For further details, see “Note on the edition of Partenia.”

VERSE PRECEDING THE PLAY TEXT

1. [+2v] Del Signor Mutio Manfredi Donna che lieta di sublimi onori T’en vai di gloria e di te stessa altera; Né di lor temi la famosa schiera Che cantar già d’eroi fatti, et errori. Tu con lor non contendi, umili amori N’adduci in scena: e chi n’addusse fiera Medea, Fedra lasciva, Eletta intera Vinci, e pur son di ninfe e di pastori. Quinci t’ammira il mondo, e quinci sanno Le donne esser pudiche, e non amanti, 289

290 Appendix A E fidi amici noi quinci sappiamo. Cedan pur dunque a te, Barbara, quanti Diero a teatro mai gioia, od affanno Greci, toschi e latin d’Apollo il ramo. By Signor Muzio Manfredi1 Lady, joyfully with sublime honors you proudly show your glory and your merit; nor do you fear that famous band of poets who sang of heroes’ deeds and errors.2 You do not vie with them, but bring humble loves to the stage; and wholly outdo those who staged fierce Medea,3 lustful Phaedra,4 and Electra,5 yet yours are just the loves of nymphs and shepherds.6 For this the world admires you; and thereby women learn how to be modest, and not lovers, and we men learn how to be faithful friends.

1. In (A), fol 3r. On Muzio Manfredi and his key role in the preparation of Torelli’s play and the Cremona manuscript, see Introduction, 14–16, 19, 53, 59–61; cf. also his madrigal appendix A, poem 11. 2. “That famous band of poets”: either a generic reference to classical writers of the epic and drama, or more specifically to the Innominati Academy, who studied classical literature and tragedy under the leadership of Barbara Torelli’s cousin, Pomponio. 3. In Greek legend, Medea loved Jason, leader of the Argonauts, and helped him to gain the golden fleece. She was the subject of a tragedy written by Euripides (and imitated by Seneca) in which she avenged Jason’s betrayal of her love by murdering their children, among others. 4. In Euripides’s tragedy Hyppolitus, Phaedra, the wife of Theseus, develops an illicit passion for her stepson, Hyppolitus (see Translation, n65). 5. Electra is the vengeful sister of Orestes who urges him to murder their mother as well as her mother’s lover (Aegisthus). These actions are the subject of tragedies by Aeschylus, Sophocles, and Euripides. 6. Torelli’s pastoral play is praised for its humility and morality, respecting traditional gender decorum, and paradoxically it is also elevated above authoritative examples of classical tragedy. Baldi makes similar comparisons in his two sonnets below (2–3).

Appendix A 291 So, Barbara, let all those who ever joy or pain brought to the theatre, whether Greek, Tuscan, or Latin, cede to you Apollo’s bough.7

2. [+3r] Del Signor Bernardino Baldi8 Tu che dolce spiegando i rozi amori Vinci qual9 più famoso oprò coturno: E mentre saggia muovi10 il plettro eburno, Fai che le sponde il Taro ingemmi e’ndori; Mira la fama i tuoi devuti11 onori Portar là dove’l12 sol [esce] diurno E là dove a cader s’en va notturno Nel salso grembo a la marina Dori. Pregia ella te sovra quel dotto amante, ch’al chiaro suon de la dorata cetra Selve trasse da monti, e fere e marmi: Che se per udir lui spetrò la pietra Rapto al divin de’ tuoi sonori carmi Fa suo ciel le tue selve il gran tonante.

7. The laurel tree became sacred to Apollo after his beloved nymph Daphne (one of his several amorous conquests) was turned into one as she tried to escape his attentions (Ovid, Metamorphoses, 1). The laurel represents poetic fame and immortality and was also the symbol for the Innominati Academy. 8. In (A), fol. +2r; and, with some minor variations, Baldi’s Rime varie, in Versi e Prose di Monsignor Bernardino Baldi da Urbino, Abbate di Guastalla … (Venice: Appresso Francesco de’ Franceschi Senese, 1590), 350; hereinafter B (copy consulted in Oxford, Bodleian Library, Mortara 831). The individual collection is dedicated to Signora Vittoria Galli, November 20, 1588, and Baldi claims to have written it before he became a priest in 1585 (307). The verse is indexed as being composed for the noblelady of Parma, Barbara Torelli de’ Benedetti [sic] “who had composed a pastoral play entitled Partenia” (360), and appears among various verse for authors of plays and other works. 9. B: chi. 10. (A) and B: movi. 11. B: dovuti. 12. là dove’l > colà ve’l [B].

292 Appendix A By Signor Bernardino Baldi13 Through your sweet singing of rustic loves you outdo those who more famously put on the buskin;14 and through learnedly strumming the ivory plectrum you make the shores of the Taro15 sparkle with gems and gold; behold Fame bring your deserved honor from where the sun rises each day to where it nightly goes to set in the salty lap of the marine goddess Doris.16 She holds you dearer than that learned lover, who by the clear sounds of his golden lyre drew woods from the mountains, and beasts and stones:17 For if on hearing him the rocks ruptured, Great Jove,18 enraptured by the divine sound of your songs, turns your woods into his heaven.

13. On Baldi, see Introduction, n48. 14. The buskin or cothurnus (coturno in Italian) was a type of boot with an elevated sole used by actors in tragedies in ancient Greece and Rome. Here, it metonymically evokes the writing of tragedy. 15. The river Taro is a southern tributary of the Po, the main waterway running through the region of Emilia. It runs a few miles to the west of Parma, near Collecchio where the play is set (and is referred to in Partenia, 5.3.388). This is the first of numerous references in the paratextual verse to rivers, which were commonly used to metonymically evoke places for celebratory purposes. 16. Doris (Dori) was the daughter of the gods Oceanus and Tethys. She married her brother Nereus and together they had fifty daughters, or Nereides. 17. The “learned lover” is Orpheus of Thrace, son of Apollo and the muse Calliope and poetsinger par excellence, who loved the nymph Eurydice. His songs were famed for their power over nature, being capable of, for example, taming wild beasts and moving stones (Ovid, Metamorphoses, 10), see Translation, nn.56, 58. 18. Il gran tonante: refers to Jove (Jupiter), the king of the gods in Roman mythology, who was associated with, among other things, the heavens and thunder.

Appendix A 293 3. [3v] Del medesimo19 Fra quanti mai con glorioso inchiostro Fecer d’immortal nome eterno acquisto, Spirto di te20 maggior, Barbara, visto D’antica età non have, o’l secol nostro. Cede a te, de le Donne altere mostro, Chi cantò già di sangue il Xanto misto, Chi mostrò in scena il percussor d’Egisto, E chi lodò, Latini, il Frigio vostro. Nove già fur le Muse, or chi più nove Dirà le Muse, s’al bel numer’una Giunta sei tu, che tutte l’altre onori? Una son elle21 in te, poiché in te aduna Sola tutti i lor pregi il sommo Giove, Perché in te l’altre tutte22 il mondo adori. By the same poet Among all those who with their glorious ink ever gained immortal name for eternity, no spirit greater than yours, Barbara, has been seen in ancient times nor in our own. Let he who once sang of the Xanthus mixed with blood,23 the one who showed on stage the slayer of Aegisthus,24 19. (A), fol. +2r; and in Baldi’s Versi e prose, 350 (but not referenced as for Torelli in the Index). 20. di te > B del tuo 21. Una son elle > B Anzi, una sono 22. L’altre tutte > B le sue nove 23. Probably an obscure reference to an episode in Homer’s Iliad (21), in which the god of the river Xanthos (Xanthus, in Western Turkey), allied with the Trojans, was angry with Achilles for refusing to stop filling his waters with their corpses. Achilles was saved from the river’s mighty wave by divine intervention. 24. A reference to Aeschylus’s much-imitated Oresteia trilogy (458 BC), dramatizing the long and bitter family feud of the house of Atreus, between Aegisthus (Egisto) and his cousin Agamemnon. In the second part of Aeschylus’s trilogy (Libation bearers) Orestes kills Aegisthus and his own mother Clytemnestra (Aegisthus’s lover). Sophocles focuses on the same

294 Appendix A and he who praised your Phrygian,25 O Latins, all bow to you, O lofty model for great ladies. There were already nine muses, but now who will still count nine, when you have added one to this sweet number that honors all the rest?26 They all form one in you, for alone in you the great Jove gathers all their qualities, for in you the world adores all the rest.

4. [4r] Del Signor Girolamo Pallantieri27 Con l’Aretusa e col bel Mincio28 a paro D’onor tra i boschi il Formion già crebbe Tal che’l Sebeto e scorno et astio n’ebbe E n’andò l’Arno assai men dolce e chiaro. Ma poiché la tua greggia a l’onda ebbe Ch’Emilia inaffia, e l’Enza adorna e Taro, fonte non corre o fiume altero più caro Al Dio, cui di Siringa il fato increbbe. scenario for his Electra, but from the perspective of Orestes’s sister, Electra. On Euripides’s tragedy Electra, see above note 5. 25. A reference to Virgil’s epic poem The Aeneid. The “Phrygian” is Aeneas, son of Venus or Cybele, the cult goddess of the Phrygians, an ancient civilization based in Anatolia. 26. In classical mythology the muses were nine sister-goddesses representing the various branches of the liberal arts. The description of Torelli as a tenth muse makes use of a wellworn praise topos. 27. Del Signor Girolamo Pallantieri replaces Di Don Girolamo Pallantieri. In (A), fol. 1r; and in Gherardo Borgogni, Rime di diversi illustri poeti de’ nostri tempi. Di nuovo poste in luce … (Venice: Presso la Minima Compagnia, 1599), 242 (one of twelve poems by Pallantieri, named an Innominato academician of Parma, entitled “Alla Sig. Barbara Torella Benedetti, per la sua Partenia, favola pastorale; e si loda il Sig. Mutio Iustiniano” (To Lady Barbara Torelli Benedetti, for her Partenia, a pastoral play; in which is praised Muzio Iustiniano)). Borgogni’s miscellany also includes verse, or references to works, by six of the remaining eleven poets who composed paratextual verse for the Partenia manuscript (Ferrante and Curzio Gonzaga, Muzio Manfredi, Bernardino Baldi, Prospero Cattaneo, and Silvio Calandra). 28. Mincio replaces Mintio.

Appendix A 295 Mopso, il divin pastor, degli Istri luce, che di Talia cantò, pria fanciulletto Per le rive di quel molle le piante. E in su la Parma (o Lume nostro, e obietto) Tu che sei di Partenia in scena or Duce Torella uscisti in più ch’uman sembiante. By Signor Girolamo Pallantieri29 With honor equal to the Aretusa30 and fair Mincio31 the Formio river32 once swelled midst the forests, such that the Sebeto33 filled with scorn and spite, and the Arno34 seemed far less sweet and clear. But after your flock drank at the river that waters Emilia and adorns the Enza and Taro,35 neither spring nor proud river flows that is held dearer 29. On Pallantieri, see Translation, nn124, 129. 30. Aretusa: the first of many metonymic allusions to rivers in this intertextually dense sonnet, which situates Torelli’s play in a distinguished tradition of pastoral writings. Aretusa is a mythological river that flows through Arcadia in ancient Greece, and was supposedly the form taken by the nymph Arethusa in order to avoid the amorous pursuit of the god Alpheus; it evokes ancient Greek pastoral poetry, especially that of Theocritus. 31. The Mincio is a northern tributary of the Po, which runs through Mantua and is symbolically associated with the city and its chief poet, Virgil. 32. The River Formio (or Risano) ran on the Eastern border of Friuli towards Istria, and evokes the Paduan writer and Catholic polemicist Girolamo Muzio (1496–1576), known also as “Giustinopolitano” because of his family origins in Capodistria (Justinopolis). He is alluded to as Mopso in line 9; see below note 37. 33. The Sebeto river (now lost through land reclamation) flowed in the plain between Naples and Mount Vesuvius, and is immortalized in Jacopo Sannazaro’s prose pastoral romance Arcadia. 34. The Arno river flowing through Florence is of course principally associated with the “Three crowns,” Dante, Petrarch, and Boccaccio, all of whom wrote eclogues, in addition to exploring the pastoral mode in other works. 35. The river referred to here is the Po, which passes through the region of Emilia. The Enza and Taro are both southern tributaries. The Enza runs a few miles east of Parma, in the valley where the castle of Montechiarugolo (once owned by Torelli’s cousin, Pomponio) lies. On the Taro, see above note 15.

296 Appendix A to the god who sorrowed over the fate of Syrinx.36 Mopso,37 the divine shepherd and light of the Istrians who sang of Talia, wetted his feet when just a young boy at the shores of that stream. And by the Parma river38 you (O our light and object), who now bring forth Partenia on stage, appeared, Torella,39 in a form that surpasses that of mortals.40

5. [+4v] Del Marchese Camillo Malaspina41 Arsi del corso mio gran spatio, Amore, Nel più vago camino al chiaro lume Di duo begli occhi, e qual have in costume Farfalla, che nel foco e vola e muore, Ebbi diletto d’un soverchio ardore, Ma danno poi, qual chi troppo presume; Or ch’io m’attempo, par che mi consume Dolce cantar, e un stil m’agghiaccia il core 36. Pan, the woodland deity, loved the reluctant nymph Syrinx, who ended up being transformed into a reed that Pan then fashioned into a panpipe. 37. The name Mopso was commonly used in the pastoral tradition (see Virgil’s Eclogue 8, Dante’s Eclogue I to Giovanni di Virgilio, and Tasso’s Aminta (1.2.215–311, a curiously satirical addition that first appeared after the first Aldine edition of 1581). Pallantieri seems to refer here to the pastoral name Girolamo Muzio adopted in his Le amorose egloghe … alla Signora Tullia d’Aragona, Book 1 of his Egloghe (Venice: Appresso Gabriel Giolito de Ferrari e fratelli, 1550); Muzio loves, or is inspired or tormented by, his muse Talia—the muse of comedy, and the pastoral persona used for his lover, the courtesan poet Tullia d’Aragona (see eclogues 3–6). On the implications of this pseudonym being used also to refer to Barbara Torelli, see Introduction, 9–10. 38. The River Parma, a tributary of the Po, runs through the city of Parma itself. 39. Torella is the feminized form of the family name Torelli. Women were commonly referred to in this way (see also the verse below by Cat(t)aneo and Calandra). 40. The last line is obscure, but seems to suggest that Torelli, like Mopso, has something divine or “super-human” about her. 41. (A), fol. 1v. In (C) the name of the poet appears written in the same hand as the verse above, but the poem itself is in darker ink and in a different hand that does not appear elsewhere in the manuscript (see Note on the Edition of Partenia, 59). Practice pen strokes are evident at the bottom of the page.

Appendix A 297 Soave sì, ch’ Apollo e’l bel Permesso Il pregio perde, non Euterpe sola. O pur per me non sia d’empia sirena Ma se fu appreso ne l’eterna scola Veracemente, e’l Ciel l’ha a noi concesse; Come altrui inganna? o come a morte mena? By Marquis Camillo Malaspina42 For years I burnt in my pursuit, O Love, on the most pleasant journey to the clear light of two beautiful eyes; and just as the moth flies into the flame and perishes43 I delighted in too fierce a passion, but was ruined later, like one who presumes too much; now that I grow old,44 I seem consumed by a lovely song, and my heart is frozen by a style that is so sweet that it outdoes that of Apollo himself45 and the lovely Permessus,46 besides Euterpe.47 42. Camillo Malaspina descended from an aristocratic family from the Lunigiana region (bordering Tuscany and Liguria), and served as a gentleman (or cameriere secreto) for Ranuccio Farnese. He joined the Innominati Academy of Parma in 1580 as “il Forsennato” (“the Raving One”) (Denarosi, ADIP, 37, 406, 410; Antonio Pizzi, La Zecca di Parma, Book 3, Cap. iii); Website: “La Zecca di Parma”, http://incuso.altervista.org/pizzi.php (accessed December 12, 2011); Mario de Grazia, “Una antica e fedele ‘guida’ degli stati farnesiani di Parma e di Piacenza,” Archivio storico per le province parmensi 4, no. 24 (1972): 164 (cited from a manuscript account of the Farnese Duchy by Francesco Maria Violardo, ca. 1601– 1603). 43. For the topos of the lover dangerously attracted to his love, like a moth to a flame, see Petrarch, RS, 141. 44. In line 7, Malaspina introduces a temporal shift, together with a new concern about the spiritual effects of earthly love (as are also apparent in the opening sonnet of Petrarch’s RS). The verse likewise remains ambiguous about the moral effect of the “song” and the status of the singer—possibly alluding to Torelli and her Partenia. 45. On the god Apollo (Phoebus), son of Jupiter (Zeus), see Translation, n28. Here he is referenced for his status as the god of poetry and music. 46. The Permessus is a river at the foot of Mount Helicon that is sacred to the muses and to Apollo. Its waters make anyone who drinks them a poet. 47. Euterpe is the muse of music, also associated with tragedy.

298 Appendix A O for my sake let this not be a wicked siren!48 But if it was learnt in the eternal school, truthfully, and heaven has granted it to us, how can it deceive? Or lead us to death?

VERSE FOLLOWING THE PLAY-TEXT

6. [70v] [Anon.]49 Cingavi50 il crine, non d’edra o d’alloro, Il sommo Apol, ma d’immortal corona, Qual orna il ciel, là dove Noto tuona, O dove fiede il mar l’irato coro. Che mortal pregio a così bel lavoro Per cui chiaro vivrà sempre Elicona Non è ch’agguaglie,51 e ciò che’l ciel vi dona Poco è a quel che vi serba alto tesoro. O felici pastor, ninfe beate Voi a cui diede Amor musa sì rara, Perché fra noi sia vostra fama eterna; Lieti vivete, e non sia chi discerna Unqua sdegno fra voi, ma le passate Pen or che dien pace più dolce e cara.

48. The sirens were enchantresses, often associated with lust, who attempted to lure sailors to their death with their sweet song, but were famously overcome by Odysseus (Homer, Odyssey, 12). 49. (A), fol. 2r. The only anonymous paratextual verse in the Cremona manuscript. It might be by Barbara Torelli herself, as a kind of envoy or conclusion for the play; cf. that of Maddalena Campiglia for her Flori (in Cox and Sampson, eds., Flori, 302–03). 50. Cingavi: a diagonal stroke crosses through this word from the bottom left to the top right, perhaps an editorial mark to indicate to a compositor or copyist the start of a new page, see Note on the Edition of Partenia, 57. 51. Agguaglie: in standard Italian, agguaglia.

Appendix A 299 [Anon.] Let the mighty Apollo52 wreath your hair not with ivy or laurel but with an immortal crown, which adorns the heavens, where Notus53 thunders, or where the angry chorus54 whips the sea. For no mortal honor can equal such a marvellous work for which Helicon55 will always be famed; and what heaven grants you is little compared with what the lofty treasure56 holds for you. O you happy shepherds and blessed nymphs to whom Love gave so rare a muse57 so that your fame lives eternal among us mortals; Live happily, and let none ever witness rancor among you, but let the past suffering now give you sweeter and dearer peace.

7. [71r] Del Signor Francesco Mondella58 Mentre59 col suon de tuoi soavi accenti Spieghi di Tirsi60 a le pasture amene, 52. On Apollo, see Translation, n28. He is normally associated with the laurel crown, which symbolizes earthly fame and, in particular, poetic glory. Ivy evokes Dionysus, the god of wine and earthy revelry, who was typically contrasted with Apollo. 53. Notus in Greek mythology was one of the four wind gods (anemoi). As the god of the South wind, he was associated with the gales of late summer and early autumn. 54. Possibly the chorus of winds controlled by the god Aeolus. 55. Helicon is a mountain in Boeotia and was home to the muses and sacred to Apollo. 56. The “treasure” seems to refer to spiritual goods, as compared to the base and transient earthly goods of fortune. Vittoria Colonna uses the term in this sense quite frequently in her verse; see Brundin, Sonnets for Michelangelo, 58 (no. 3), 128 (nos. 91 and 92). 57. The muse is by implication Torelli (compare Baldi’s verse, fol. + 3v). The emphasis in the tercets on Love as her inspiration seems to downplay the divine quality of her work that is implied in lines 1–8. 58. (A), fol. 2v. 59. Mentre is crossed by a diagonal stroke, as in the sonnet above. 60. Tirsi emends d’Ottinio (as in (A)).

300 Appendix A E di Leucippe61 le cocenti pene, E accendi62 in ben’amare63 i cuor già spenti, Arresti l’ali ai più veloci venti E rendi l’aure di dolcezza piene, E fai che’l corso a’l ciel spesso conviene Fermar, che i lumi suoi stanno a te intenti. Felice greggia, aventurosa piaggia Ch’a tal concento mai non vivi senza Perpetuo April, c’ha di te eterna cura. Beatissimi voi Cigni di Lenza, Ch’avete ad onorar, per gran ventura Spirto così divin, Donna sì saggia. By Signor Francesco Mondella64 While you describe to the pleasant pastures with your sweet-sounding words the burning pain of Tirsi and of Leucippe,65 and you kindle noble love66 in our dead hearts, you stop the wings of the fiercest winds and fill the air with sweetness 61. Leucippe [sic] emends Del vago Tirsi. 62. accendi: a small inserted “b” above the initial letters (“ac-”) seems to be an editorial mark indicating a revised word order, see note below. 63. in ben’  amare: underlining in original, and small “[a]” has been written above, probably to indicate a revised word order (i.e. “in ben’amare accendi”). 64. Francesco Mondella was a poet and literato active in Verona in the 1570s and 1580s. He was a member of the Accademia Filarmonica (Philharmonic Academy) of Verona, which was famous especially for its musical activities. His known oeuvre includes occasional poems and the tragedy Isifile (1582), in addition to a short work (La Nisa, 1578), which we have not been able to consult. 65. Mondella refers here to the play’s depiction of the love rivalry for Partenia between the shepherd friends Tirsi and Leucippo (here incorrectly given as Leucippe). 66. The idea of “noble love” (ben amar, lit. proper loving) was prominently used by Maddalena Campiglia in her second verse prefacing Flori (fol. Iv), which begins: “Per ben’amar, mia FLORI, / Odi quai lode intorno a te si danno!” (“Listen, my Flori, to all these praises that are echoing around you as a reward for your noble love!”), transl. Virginia Cox, in Cox and Sampson, eds, Flori, 302–03.

Appendix A 301 and often make the heavenward movement halt, for all its stars are fixed upon you. O you happy flock, you fortunate land to live with such harmony always in perpetual spring, for heaven67 keeps eternal care of you. O you most fortunate swans of the Enza,68 who have the great fortune to honor so divine a spirit, so wise a lady.

8. [71v] Del Illustrissimo [&] Eccellentissimo Signor Don Ferrando Gonzaga Lasci il carro del dì, pasca l’armento Chi d’Anfriso onorar solea le sponde, Et orni il vago crin di quella fronde Per cui tanti sospir disperse al vento, Mentre il tuo dolce canto in un concento Amor, fede, onestà chiaro confonde E de l’antiche mie piaghe profonde Rinovellarmi al cor la doglia sento. Taccia Talia chi t’ode, et sol t’ammiri, E s’è chi di lodarti ardisca, ò pensi. Tanto diletto suo tempri col pianto. In Tirsi il mio dolor pietoso miri, Che lieto fin non ebbe indi, dispensi Lagrime a la mia fè, lodi al tuo canto.

67. heaven: the subject is obscure in the Italian and is surmised from the sense above. 68. Enza: see note 35 above. Assuming that the river alludes metonymically to Pomponio Torelli’s feud Montechiarugolo, the “swans” are likely a reference to the Innominati academicians. The last tercet therefore suggests Barbara Torelli’s connections with the academy.

302 Appendix A The most illustrious and excellent Lord Don Ferrante Gonzaga69 Let he who once honored the banks of the Amphrysus70 leave his chariot of the sun and his flock to graze, and let him now adorn his lovely locks with that bough71 for which he breathed so many sighs to the wind, while your sweet song mingles love, faith, and honor in one clear harmony and I feel the grief from my old, deep wounds welling up once more within my heart. Let whoever hears you, Talia, and solely admires you, be silent, and if any dare praise you, let them be mindful, for you temper such great delight with tears.72 In Tirsi behold my pitiable sorrow, which never had a happy ending;73 shed tears for my fidelity, give praise to your song.

69. (A), fol. [+Ir]. On Ferrante II Gonzaga, who owned a copy of Partenia in 1586, see Introduction, nn102, 104. Given Gonzaga’s presentation of his misfortune in love, the verse may have been composed before his marriage in 1587. 70. The Amphrysus (Anfriso) is a river in Thessaly on whose shores the sun-god Apollo led Admetus’s flocks to pasture (see Translation, n29). This mythological episode could be used to ennoble the “humble” pastoral genre, following a strategy adopted by Ferrante Gonzaga in his own unfinished Enone (see Riccò, BMP, 313–15). Compare the semicomic allusion to the same episode in Luigi Groto’s La Calisto, nova favola pastorale … (Venice: Appresso Fabio and Agostin Zoppini fratelli, 1586; first printed 1583). 71. The “bough” is the laurel into which Apollo’s beloved Daphne was transformed (see note 7 above). 72. Line 11 seems to refer cryptically to the blend of tragic and comic elements in Partenia, perhaps in connection with theoretical disputes over Guarini’s tragicomic PF (especially from 1587). 73. The reference to a happy ending (lieto fine)—which Talia (the muse of comedy) provides in a moderated form—may also allude to contemporary theoretical debates on drama. By the 1580s, the pastoral play typically had a happy ending, a feature much discussed by the Innominati academicians (among others) with reference to tragedy. Battista Guarini found a generally comic structure and end to be more suitable for the Christian age (Verrato, 775–80).

Appendix A 303 9. [72r] Del Signor Prospero Cat[t]aneo74 A te Partenia, intatta verginella, Di tutti i colli e de le selve onore, Ch’a Delia, umile, hai consacrato il core, Ceda ogni ninfa più leggiadra e bella. Anzi a la saggia ceda alma Torella, Per cui s’aggiunge al bel pensier splendore Col vario e vago stile, ogni scrittore, Qual più celebre al mondo oggi s’appella. BENEDETTA la man, che con tant’arte Carte vergò di sì leggiadre note Che stupido riman l’Arcadio Regno. Si volge in pace ogni amoroso sdegno, Divien Diana amante, amante Marte. Or che di Febo75 l’armonia non puote? By Signor Prospero Cat[t]aneo76 To you, Partenia, intact young virgin, the honor of all the hills and woods, who have humbly consecrated your heart to Delia,77 let all the most graceful and lovely nymphs bow. 74. This verse seems fairly conclusively to be in Torelli’s own hand. 75. di Febo emends del metro. 76. Prospero Cattaneo (Cataneo) was apparently a priest and elected canon of the Basilica of Sant’Andrea in Mantua, as well as a poet (Carlo D’Arco, Famiglie Mantovane e Mille Scrittori Mantovani. 7 vols. Archivio di Stato, Mantua, “Alberi genealogia di molte famiglie mantovane,” MS 51 [facsimile edition Mantua, 1999], 3:23, no dates given). No printed works under his own name are known, but Cattaneo composed much occasional verse for local noblemen and women, and other writers, including a sonnet for Maddalena Campiglia’s Flori (fol. K7r, disapproving of the female-female love element), and one for Manfredi’s Semiramis (fol 89r), in addition to twelve verse compositions (for the wedding of Vincenzo Gonzaga) in Borgnogni, Rime. He does not seem to have been a member of the Innominati Academy of Parma. 77. Delia is another name for Diana, the goddess of the moon and of chastity and hunting. She dwelled in the woods with an entourage of virgin huntress nymphs (see Translation, n13).

304 Appendix A Or rather, let all the most famed writers in the world today give way before the wise and noble Torella, who confers added splendor to lofty thoughts with her varied and delightful style; BLESSED 78 is the hand that inscribed pages with such art and such delightful words that the Arcadian realm remains dumbfounded. Each lover’s quarrel ends in peace, Diana becomes a lover, a lover Mars79 too. Of what is Phoebus’s80 harmony now not capable?

10. [72v] Del Signor Curzio [Gonzaga]81 Qual’è costei nel cui bel viso e raro Scherzan le gratie coi pudichi amori; E che a se tragge i più sublimi cori, Ond’ivi il perder libertate è caro? Qual’è costei ch’a quanti mai poggiaro Cigni in Castalia invola i primi onori, Et le ninfe illustrar s’ode e i pastori D’Insubria al suono sì leggiadro e chiaro? Stiamo a sentir l’angelica favella, Et udrem ch’a suo arbitrio ogn’alma adduce A speranza, a timore, a gioia, a duolo. Stiamo a mirar la meraviglia bella 78. The Italian BENEDETTA (capitalized in the manuscript) obviously plays on Torelli’s married name, Benedetti, which means “blessed” in Italian. Compare Petrarch, RS, 61. 79. Mars is the god of war. Cattaneo thus praises Torelli’s skills in paradoxically transforming into lovers the chaste goddess Diana (associated with Partenia) and Mars (probably associated with the rival shepherd suitors). 80. Phoebus was another name for Apollo. 81. (A), fol. [+1v]; and (with minor differences) Curzio Gonzaga, Rime … Già ricorrette, ordinate, & accresciute da lui, Et ora di nuovo ristampate con gli argomenti ad ogni compositione (Venice: Al segno del Leone, 1591), 174, with the rubric “Per la Signora Barbara Torelli nella sua pastorale” (To Lady Barbara Torelli for her pastoral play). The author’s name appears as Curtio Gonzzagi in the Cremona manuscript.

Appendix A 305 Et vedrem82 che con doppia gloria luce BARBARA 83 omai da l’uno a l’altro polo. By Signor Curzio Gonzaga84 Who is this lady in whose face of singular beauty the graces play with modest cupids, and who draws to her presence the most sublime choirs, wherein losing one’s liberty is cherished? Who is this lady who steals the highest honors from all the swans who ever sought refuge in Castalia,85 and who is heard describing the nymphs and the shepherds of Insubria86 in such graceful and clear sounds? Let us listen to her angelic speech and we will hear that, as she wishes, she leads each soul to hope, fear, joy, and grief. Let us gaze upon this fair marvel

82. Et vedrem > Et sì udrem (Gonzaga, Rime, 174). 83. BARBARA: the original text is capitalized to highlight the encomium. 84. Curzio Gonzaga (Mantua, 1536–1599) was a member of one of the cadet branches of the Gonzaga family, and had a feud in Borgoforte. Besides successfully fulfilling diplomatic and military missions, he was a celebrated writer close to Tasso and Guarini, as well as to other poets in the literary circles of his kinsmen Don Ferrante and Scipione Gonzaga, and of Carlo Borromeo in Rome. Curzio notably had a literary relationship also with Maddalena Campiglia, who co-dedicated her Flori (1588) to him and edited his comedy Gl’Ignanni (1592), as well as providing paratextual material (“argomenti”) for the revised edition of his most famous work, the epic poem Il Fidamente (1591; 1st edition, 1582). See entry by R. M. Ridolfi, DBI 57 (2001): 704–706; O. Grandi, “Di Curzio Gonzaga e delle sue opera,” in Per Cesare Bozzetti. Studi di letteratura e filologia italiana, ed. S. Albonico et al. (Milan: Fondazione Arnaldo e Alberto Mondadori, 1996), 535–46. 85. Castalia was a spring at the foot of Mount Parnassus, named after a nymph who threw herself into it to evade Apollo’s pursuit. It became a source of inspiration for Apollo and for the Muses who lived there (sometimes called Castalides), as well as for those who drank from or listened to the waters. The “swans” sheltering in Castalia are poets. 86. Insubria is a region of Northern Italy between the Appenines and the Alps (Cisalpine Gaul, around Milan) historically occupied by the ancient Celtic Insubres until their conquest by the Romans. Insubria later referred to the Duchy of Milan, which controlled Parma and Piacenza in the fifteenth and early sixteenth centuries.

306 Appendix A and we will see that with double glory87 BARBARA now shines from one pole to the other.

11. [73r] Del Signor Muzio Manfredi Avea la nostra età messo in oblio Che possa donna oprando Alzarsi a par d’Euterpe, a par di Clio: Nè lo sperava; quando Sorse di alta beltà, d’alto valore BARBARA tal c’ha vinto Chi mai condusse in scena odio od amore. Sallo Parnaso, e Cinto Cui felice Partenia è già più cara Che, misera, non gli è Fedra discara. By Signor Muzio Manfredi88 Our age had forgotten that a woman can through her works raise herself to the heights of Euterpe and Clio,89 nor did it hope for this;90 then BARBARA came forth, with such great beauty and merit that she has outdone 87. double glory refers to the main conceit of this sonnet, namely, that Barbara Torelli excels in both her physical beauty and the power of her poetry. 88. Mutio Manfredi in the original. On Manfredi, see note 1 above. This madrigal appears in Manfredi’s Cento madrigali, 43. 89. Clio, like Euterpe (see above note 47), is one of the nine muses and is typically associated with history. Interestingly, Manfredi makes no parallel here with the muse of comedy, Thalia (Talia), who is associated with Torelli and is often depicted holding a mask. 90. Manfredi here discounts the important sixteenth-century Italian tradition of praising women, a tradition to which he himself contributed. He emphasizes, rather, Barbara’s uniqueness among her sex and his own enlightened reception of women’s works. Cf. for similar views, Manfredi’s pastoral play, Il Contrasto amoroso (1602), 2.4 (a scene featuring Maddalena Campiglia as the nymph Flori and Torelli as Talia).

Appendix A 307 all who have ever brought hatred and love to the stage.91 This Parnassus knows, and Cynthus,92 who already adore happy Partenia more than they abhor the wretched Phaedra.93

12. [73v] Del Signor Silvio Calandra Barbaro è il nome, ma benigno è il viso, Mansueto il parlar, e’l petto adorno D’alte virtù, cui dà lieto soggiorno Il cor, non mai dal sommo bel diviso. In gioia il duol cangia il soave riso, Fa’l dolce sguardo a mezza notte giorno. Le piagge infiora, e l’alme allegra intorno Il canto a quel simil del paradiso. Ottinio il gran Pastor quinci si gode, Che in ciel mentr’egli vive immortal vita, Viva in terra immortale anco sua lode. Ma’l divino Alessandro or canti ardita Come invitto Angli affrene,94 e Belgi annode E’l nvidie il magno, a sua gloria infinita.

91. Cf. the similarly favorable comparison of Torelli to other dramatists in Manfredi’s sonnet above (1). 92. Mount Parnassus, a spur of the Pindus mountains in central Greece, was considered sacred to Apollo and the Corycian nymphs. Roman poets viewed it as the source of inspiration, with its Castalian spring, and as home to the muses. Mount Cynthus is on the island of Delos in the Aegean Sea, where, according to legend, Leto gave birth to Zeus’s children Apollo and Artemis (Diana), whose cults were celebrated on the island. 93. On Phaedra, see note 4 above; and cf. Partenia (2.2.89–112). 94. affrene: in standard Italian, affrena.

308 Appendix A By Signor Silvio Calandra95 The name is barbarous,96 but the face is kind, the speech is gentle, and the breast adorned with great virtues, to which the heart gives joyful abode, never parted from the highest beauty. Her sweet laugh changes grief to joy, her tender gaze turns midnight into day, her song, like that of paradise, brings forth flowers from the land, and cheers the souls of those around. Ottinio,97 the great shepherd, rejoices from afar that while he dwells immortal in heaven his praise lives on immortal on earth. But now sing boldly of the divine Alexander,98 95. Silvio Calandra (Mantua, ca. 1540–1590) was an important Mantuan courtier and diplomat who served Duke Guglielmo Gonzaga. Following his (probably wrongful) imprisonment for treason (1579–83), he began an ecclesiastical career in Reggio Emilia, and died in prison. Calandra was a member of various academies, including the Invaghiti of Mantua, but apparently not the Innominati of Parma. He is known to have composed verse, including 22 poems printed posthumously in Borgogni, Rime, 269–79, and apparently an unpublished play, L’Argonautica. See entry by Luisa Bertoni Argentini, in DBI 16 (1973): 434–38; and Guido Rebecchini, Private Collectors in Mantua: 1500–1630, Sussidi Eruditi, 56 (Rome: Edizioni di Storia e Letteratura, 2002), 164–70, 348–49 (Inventory of goods, 1590). 96. barbarous (“Barbaro”) is of course a playful reference to Barbara Torelli, with a masculine ending (to complement nome). The English translation in the first quatrain maintains the indeterminate gender of the addressee found in the Italian until line 12, creating a humorous contrast between the masculine nouns/adjectives and the implied feminine subject. This gender play culminates in the last terzina with Torelli being invited to move from “feminine” pastoral praise (of Ottavio Farnese) to “masculine” epic praise of Alessandro. 97. On Ottinio as the pastoral pseudonymn adopted for Ottavio Farnese (1542–86), Duke of Parma and Piacenza, also in Partenia, see Introduction, n67 and Translation, n5. The last two tercets indicate that the sonnet was composed after his death. 98. An unusually realistic reference to the celebrated military leader Alessandro Farnese (1545–92, Duke of Parma 1586–92), son of Ottavio Farnese and Margaret of Austria. He began his distinguished career at Lepanto (1571), and became Governor of the Netherlands in 1578, where he brought the Southern provinces under Spanish control and later reconquered the Northern provinces of the Union of Utrecht, clinched by the victory at Anvers in 1585. He died in France fighting against Henry of Navarre. Farnese was widely celebrated in literary writings, especially by members of the Innominati Academy; see, for example, the verse collection Raccolta per la vittoria di Alessandro Farnese in Fiandra (1586) and the

Appendix A 309 of how, unvanquished, he holds back the English and binds the Belgians, and let the Great hero99 envy him, to his endless glory.

13. [74r] Del Signor Marco Pio di Savoia100 Donna che fra le donne splendi, come Cintia fra i minor fuochi, e i pregi tuoi Non son l’opre d’Aracne, se ben puoi Gir de’ begli occhi altiera, e de le chiome. Queste non son tue glorie, anzi vil some Le stimi, e ricca di beltà fra noi Vai negletta, perché tu aver non vuoi Di mercata beltà l’ingiusto nome. Ma vaga di saper, hai visto quanto Puote fiorir de’ saggi il ricco prato E nei campi d’Homer colto l’Allor[o]. O del sesso men forte altezza e vanto, O di Parma decoro, o del[l]’ingrato Mondo, che non ti merta, alto tesoro.

series of epic poems presenting Farnese as the ideal, Christian (Catholic) prince, following the first edition of Tasso’s GL (Parma: Erasmo Viotti, 1581; the printer’s dedicatory letter compares Farnese to Tasso’s hero Goffredo), including Fortuniano Sanvitale’s Anversa Conquistata (1609), and the anonymous first three cantos of Anversa Liberata (attrib. Giovan Battista Marino) (Denarosi, ADIP, 165–67, 171–81, 411–12; Introduction, 5). 99. the Great hero: a flattering comparison with Alexander the Great (il magno). 100. Pio di Savoia: Pio emends cancelled [pij]; “di Savoia” added.

310 Appendix A By Signor Marco Pio of Savoy101 O Lady who shines brightly amid ladies, like Cynthia102 among the lesser flames, nor are your merits the works of Arachne,103 although you can justly take pride in your beautiful eyes and tresses. These are not your glory, indeed you deem them base burdens, and rich in your beauty you go unadorned among us,104 because you do not wish to be unjustly famed for flaunted beauty. Instead, through your desire for learning you have seen what flowers grow in the rich meadow of the wise, and in Homer’s fields you have gathered laurels.105 O glory and vaunt of the weaker sex, O exemplar of Parma’s decorum and, in this ingrate world, O undeserved and lofty treasure. 101. Marco Pio (1567–1599) was the young ruler of Sassuolo, a neighbouring state of Parma. In 1587 he married the widowed Clelia Farnese, daughter of Cardinal Alessandro. This connection may explain the inclusion of his verse in the manuscript. No other surviving works by Pio are known, but he was close to the poet Torquato Tasso around 1586–91. See Giuseppe Campori’s Memorie storiche di Marco Pio di Savoia (Modena: Carlo Vincenzi, 1871), esp. 20–37, 52–54 (Pio’s military support of Alessandro Farnese in Flanders), 67–79 (relations with Tasso and literary activities). 102. Cynthia: another name for Diana (see note 77). 103. Arachne was a skilled weaver from Lydia, who challenged the goddess Athena to compete in creating a tapestry. The wrath of the chaste Athena at the girl’s pride and the subject matter of her masterpiece—which depicted the amorous deceptions of the gods—provoked Arachne to hang herself in despair; the goddess then transformed her into a spider (Ovid, Metamorphoses, 6; see below note 112 on Athena). 104. among us: possibly an allusion to Torelli’s membership in an elite circle of poets, such as the Innominati Academy of Parma. A similar emphasis on unworldliness, devotion to study, and to some extent spiritual concerns is evident in representations of other contemporary women writers and artists: see the portraits of Laura Battiferra degli Ammanati (Florence, Palazzo Vecchio), Maddalena Campiglia (Vicenza, Teatro Olimpico [Museo Civico collection]), and the self-portrait of Sofonisba Anguissola (Cox and Sampson, 310). 105. This line suggests that Torelli studied Homer and, by extension, epic poetry. Homer’s Odyssey and Iliad were both translated by Eugenio Visdomini, a founding member of the Innominati Academy; and many academicians engaged practically and theoretically with the epic. The extent of Torelli’s involvement in such discussions is unclear (Denarosi, ADIP, 165).

Appendix A 311 14. [74v] Del Signor Fortuniano Sanvitale Se già l’antica etate Vide [ch]e’l Thrace Orfeo famoso et chiaro Facea coi dolci carmi Restar a l’Ebro il corso, E depor l’ira al tauro, al tigre, a l’orso; Scorger la nostra in voi spirto alto e raro, Opra di nobil stile, Miracolo non parmi Che siete altiera Donna a lui simile: Onde per gratia tale PARTENIA vostra fia sempre immortale. By Signor Fortuniano Sanvitale106 If the ancient age before us saw the famed and illustrious Orpheus of Thrace107 make the Hebros108 stay its course with his sweet songs, and soothe the rage of bull, tiger, and bear; I consider it no miracle 106. Fortuniano Sanvitale (Parma, 1564–1626) was the illegitimate though recognized son of Count Giberto Sanvitale of Sala (d.1585). Fortuniano quickly became established within the intellectual scene in Parma, and joined the Innominati in 1593 as “l’Agitato” (the “Agitated One”). From the late 1590s until c.1607 bitter quarrels with his half-brother kept him away from Parma, though he remained close to the Farnese family. Sanvitale’s printed works date from 1593 and include Gli Avvenimenti amorosi di Arianna (1600), for Margherita Aldobrandini on her marriage to Ranuccio Farnese; and especially his five-book epic poem Anversa conquistata (1609), celebrating Alessandro Farnese. His many unpublished works include a sacred poem, Caterina Martire (Padua, 1601) and a sacred tragedy (L’Alessandrina, 1603/5). Unlike some other prominent members of the Sanvitale family, Fortuniano was not involved in the anti-Farnese plot of 1612. See Pietro Bonardi, “Vita ed opera di Fortuniano Sanvitale (1564–1626),” Archivio Storico per le province parmensi 4, no. 27 (1975): 261–318; for Sanvitale’s relationship with Giambattista Marino, see Fernando Salsano, “Fortuniano Sanvitale,” Studi Secenteschi 5 (1964): 69–92. 107. On Orpheus, see above note 17. 108. The Hebros is a river in Thrace.

312 Appendix A that our age sees in you a lofty and rare spirit, a work of noble style. For you are a great Lady, similar to that bard: and so, by the same grace let your PARTENIA live on immortally.

15. [75r] Del Signor Antonio Beffa Negrini Fra Palla et Citerea, Febo ed Amore Torella, oggi, è per voi nobil contesa, Mentre i lor pregi a far più eccelsi intesa Siete, ch’aggia di ciò vanto maggiore. Gloriasi Apollo con Minerva, onore Non caduco e mortal fama non resa Vana dal tempo averne, e averla presa Sol dal [v]ostro109 cantar, senno, e valore. Fan Venere et Cupido110 indi risposta Che’l bel che in voi è barbaro e gentile Vince, et accresce a lor forza ed impero. Ma’l mondo arbitro in questo, et giusto et vero Vuol che in Partenia vostra, e in voi sia post[a] Di tutti egual la Gloria, e a voi simile.

109. nostro in the original. 110. Cupido replaces Amor.

Appendix A 313 By Signor Antonio Beffa Negrini111 Between Pallas112 and Cytherea,113 Phoebus114 and Cupid there is today a noble quarrel because of you, Torella, over whose virtues can boast greatest fame, while you are bent on making them yet more excellent, Apollo rejoices with Minerva over their eternal honor, and mortal fame that loses nothing with the passage of time, gained solely from your singing, wisdom, and merit. At which Venus and Cupid rejoin that the beauty that in you is both cruel115 and kind wins out, and increases their force and domain. But the world, which is the just and true judge of this, holds that your Partenia and you show forth the glory of all equally, which is your like.116 111. Antonio Beffa Negrini (1532–1602) was a Milanese nobleman who served at the Mantuan court and as a judge. He was well connected with literary figures in Northern Italy and active in various academies, including the Invaghiti of Mantua and the Innominati Academy of Parma (from 1580). Besides composing much anthologized verse, his printed works include Rime all’illustre signora la sig. Lodovica Data Tirabosca (1566); an edition of Il Castiglione, ouero Dell’arme di nobiltà, Dialogo del signor Pietro Gritio da Iesi (Mantua, 1586; repr. 1587 and 1588); and Elogi historici di alcuni personaggi della famiglia Castigliona (Mantova: Osanna, 1606), see Rebecchini, Private Collectors, 95, 130–32. 112. In Greek mythology, Pallas (Athena) was the daughter of Zeus and was identified with the Roman Minerva. She was the goddess of war and associated with reason or wisdom, justice and prudence, and crafts like spinning. Here she is invoked in relation to her chaste, virginal status, for which she gained the epithet Pallas (or Parthenos). 113. Cytherea is the island in the Aegean Sea where Venus, the goddess of sensual love, was born from the foam. Venus was by extension known as Cytherea. 114. Phoebus is another name for Apollo (see note 45 above). Although the god was famed for his string of mostly tragic loves, his evocation in line 5 alongside the chaste Minerva— and in opposition to the gods of earthly love, Venus and Cupid—suggests that he is remembered here as the young hunter who proudly disdained Love, for which his punishment was to fall in love with the nymph Daphne (Ovid, Metamorphoses, 1). 115. The Italian barbaro (translated here as cruel) again puns on the author’s name and, combined with gentile (kind) and ’l bel (beauty), appears to be oxymoronic. 116. The balanced pairings in the verse structure reflect the conceit that Torelli has reconciled in her play (as in life) chastity and sensual love.

Appendix B Other writings by Barbara Torelli Benedetti 1. Sonnet for Muzio Manfredi’s tragedy, Semiramis (printed 1593)1 Qual da CORINTO in Babilonia sdegno Ti spinse, o forza; ond’a cantar di morte Abbi, e d’incesti, e d’altro mal più forte: D’estinto Re, di desolato Regno? Prima cantavi ardor lecito e degno, Soave riso, e parolette accorte: Repulse, e voglie or’infiammate, or morte: E quale ha vero amor termine e segno. Deh, torna, o MUTIO , a le primiere imprese: Loda d’oneste e belle DONNE il nome; Tragico stil non ha Maestro Amore. Quinci trarrai più gratioso onore: E CENTO t’ ornaran d’ allor le chiome, C’hai tu dal tempo e da l’ oblio difese. What scorn or force drove you from CORINTH 2 to Babylon, so that you need sing of death and incest, and other greater destruction: of a dead king and kingdom left in ruin?3 1. This sonnet is the best-known example of Torelli’s verse. It first appeared among the forty-seven gratulatory verses by thirty-nine poets (including five women) that accompanied Muzio Manfredi’s La Semiramis tragedia (1593), fol. 71r. The sonnet was anthologized in Luisa Bergalli, Componimenti poetici delle più illustri rimatrici d’ogni secolo (Venice: Appresso Antonio Mora, 1726), 2:278. On Torelli’s sonnet of 1581, see Introduction, 11. 2. Corinto (Corinth) metonymically refers to Manfredi and his literary love for Corinthia Bracceschi, which is celebrated in his verse anthology for one hundred women (Cento donne, 1580, author’s preface, fol. +iiiv– +vv). 3. Babylon evokes its ruler, Queen Semiramis, whose name was indelibly associated with the vice of lust, including incest with her son Ninyas after her husband’s death. This figure was used repeatedly as a negative example for women, following Dante (Inferno, 5) and Boccaccio’s ambiguous presentation of her (Famous Women, biog. 2). Manfredi’s tragedy on this

315

316 Appendix B Before, you sang of legitimate and noble love, sweet laughter and teasing quips, rejections and desires, at times enflamed, at times expired; which has true love as its end and emblem; Ah, return, O MUZIO , to your first endeavors: praise the name of chaste and beautiful WOMEN ; for tragic style is not governed by Love. Then you will gain more gracious honor and a HUNDRED women will crown your hair with laurel whom you have defended from time and oblivion.4

2. Verse for the Dominican preacher Vincenzo Ferrini’s Della lima universale de’ vitii [On the Universal Correction of Vices] (printed 1596)5 Non ha giamai fabro ingegnoso speme Di dar forma perfetta ad alcun’  opra, Se prima egli per mez[z]i non adopra subject (composed in 1580–82, printed in 1593) represents his most weighty literary work. It depicts the queen as a monstrous tyrant, prepared to murder her own (unacknowledged) daughter, as well as marry her son. For the argument that this work provides an early indication of a broader cultural shift toward antifeminism, and on negative reactions to the tragedy by Torelli, Campiglia, and an unnamed woman poet, see Cox, WW, 166–68. 4. Another reference to Manfredi’s Cento donne, which was dedicated to the Prince of Mantua, Vincenzo Gonzaga, on the day of his marriage to Margherita Farnese of Parma and which includes a verse to Torelli (no. 11, p. 35). 5. Vincenzo Ferrini, Della lima universale de’ vitii … (Venice: I Gionti, 1596), fol. 4v. Torelli’s verse appears as the second of three dedicatory poems at the start of this edition of Ferrini’s four-part collection of sermons, prayers, meditations on scripture, and other writings. The other contributors of prefatory verse are: Girolamo Alessandrini (a founding member of the Innominati Academy of Parma and a prior of San Lazzaro) and Fra Desiderio Scaglia da Brescia (whose verse is not found in the 1626 Venice Gionti edition in the Bayerische Staatsbibliothek, Munich, 4o [Afe] 326 / Th.A.243, digitized on Google books). Both Ferrini and Scaglia were important Dominican preachers and were involved in Inquisition activities, Ferrini as Vicar General of the Inquisition in 1583 under the Bishop of Parma and Piacenza (Ferrante Farnese). On Scaglia (1567–1639), see Salvador Miranda, “The Cardinals of the Holy Roman Church.” http://www2.fiu.edu/~mirandas/bios1621.htm (accessed July 20, 2011). See also above pp. 12–13, 20.

Appendix B 317 Con le sue forze il ferro e il foco insieme. Così Ferrino tu cui tanto preme Pria che la terra il mortal vel ti copra, Mostrar qua giù tra noi qual là di sopra Pregio si doni a le virtù supreme, Formato hai qui Limando almo Lavoro Co ’l tuo ferrino ingegno, temperato Ne le fiamme d’Amor divino, e puro, Onde qual Pietra del Metal pregiato Che in lui converte ogn’ altro forte e duro T’ha il Ciel di ferro già fatto fin’  oro. No ingenious smith can ever hope to give perfect form to any work, if first he does not adopt together with his strength, the substance of both iron and fire. Thus you, iron Ferrino,6 who are so compelled, before the ground covers your mortal remains, to show to us here on earth what reward is bestowed above on supreme virtues, have formed a great work here by honing7 with your iron-strong mind, tempered in the flames of divine and pure love, so that like the prized philosopher’s stone,8 which converts in itself all other strong, hard metals, Heaven has turned you from iron into fine gold.

6. Torelli puns on Ferrini’s name and the cognate words ferro (iron) and ferrino or ferrigno (robust, ferreous) to create an extended metaphor on Ferrini the writer as a smith who forges iron into gold. 7. limando (lit. filing, honing, or correcting): a pun on the title of Ferrini’s work. 8. The philosopher’s stone was much sought after by alchemists in the early modern period for its supposed capacity to turn base metal into gold.

318 Appendix B 3. Verse exchange with Giovanni Maria Agaccio, a Farnese courtier, priest, and possible member of the Innominati academy (printed 1598)9 Cedami Alceo, né se lo prenda a sdegno, Più nobil Sapho de la Lesbia onoro: A lei nutrisco, ov’era d’alno il legno, Ne’ colti campi miei palma et alloro. Sapho diss’io? più tosto in creder vegno, Ch’ella una sia de l’Apollineo coro; A gli occhi, al passo, a quel felice ingegno; A quel, che tratta in versi, alto lavoro. Ma, se pur non è Dea, quanto è maggiore La gloria sua; che’n mortal gonna umile Ritien, quasi di Dea, forma e valore? Porta ella in sen d’Amor l’esca e’l focile; Ma non spogliò co’ panni mai l’onore; Nè del primo Imeneo sciolse il monile. (G. M. Agaccio) Yield to me, Alcaeus,10 let it not anger you that I honor a more noble Sappho than the one of Lesbos;11 For her I cultivate palm and laurel 9. Giovanni Maria Agaccio, Rime (Parma: Appresso Erasmo Viotti, 1598), fol. 49v (Agaccio to Torelli); “Sonetti di diversi. Scritti all’Autore nella Quarta Parte,” fol. 12v (Torelli to Agaccio). The sonnets were evidently conceived originally as correspondence verse, using the same rhyme words, though this dialogue is lost in the printed edition, where they appear in separate sections. Agaccio’s collection consists of undated verse from at least the early 1570s; the collection was edited by Agaccio’s friend Girolamo Alessandrini (see above n5), who dedicated it to Don Ferrante Gonzaga (Parma, April 15, 1597, fols. A2r–A3v). The collection includes much correspondence verse with popular poets from Parma and beyond (including Innominati members Fortuniano Sanvitale, Pomponio Torelli, Curzio Gonzaga, Muzio Manfredi, Eugenio Visdomini); many noblewomen are also addressed, but besides Barbara Torelli Benedetti only one replies, Francesca Ricci Romana (2 poems, 38). 10. Alcaeus (Alceo) was an ancient Greek lyric poet from Lesbos and a contemporary of Sappho, with whom he performed and may have exchanged poetry. See D. A. Campbell, ed. and trans., Greek Lyric 1: Sappho and Alcaeus (Cambridge, MA: Harvard University Press, 1982), 11. 11. Sappho was a greatly admired ancient Greek (Doric) poet, associated with the island of Lesbos; little of her poetry survives today.

Appendix B 319 in my tilled fields, where once the trees were alder.12 Did I say Sappho? Rather, I come to believe that she is one of Apollo’s chorus of muses,13 from her eyes, her step, her quick mind, and from that lofty work she composes in verse.14 Yet if she is no goddess, how much greater is her glory? For in humble, mortal garb she still seems like a goddess in her form and merit. She bears in her breast the tinder and flint of love, but never has she set aside her honor with her mourning dress; nor loosened Hymen’s first bond.15 (G. M. Agaccio) Donna son io, ch’al glorioso Regno Ov’ora alberga il mio caro tesoro, Per cui serbando del suo amore il pegno In sen, sola qua giù sospiro e ploro; Aspiro, AGACCIO ; ed ho i pensieri al segno D’onorata virtù rivolti, e loro Biasmo che sol fortuna han per sostegno, Et sdegno l’ ostro, et in dispregio ho l’ oro. Ma non ho sempiterni i giorni e l’ ore, Né s’ agguaglia il mio rozo al terso stile Di lei che trasse fuora altrui d’errore. Degna lode conviensi al tuo gentile

12. Palm and laurel trees were associated respectively with victory and poetic glory; alder is not a prized tree. 13. On the nine muses, see appendix A, n26. 14. Agaccio may be referring here to Partenia, or else to another major work in verse composed by Torelli for which no evidence remains. 15. Hymen (Imeneo) was the Roman god of marriage, and was often figured with a flaming torch. Line 14 in the Italian original literally translates as “Nor did she break the necklace of her first marriage.” This seems to refer to the fact that Torelli did not remarry after the death of her first husband, Giovanni Paolo Benedetti, in 1592 (Affò, Memorie, 4:293, 296). Line 13 seems to hint at the same point, albeit obscurely through panni (clothes), which may refer to widows’ weeds. The Christian fathers valued widows who were faithful to the memory of their first husband (univirae); for this position, see also Boccaccio, Famous Women, especially biog. 42 (Dido).

320 Appendix B Dir, donde nasce a questa età splendore, Et n’avrai, te beato, eterno Aprile. (B. Torelli Benedetti) I am a lady who aspires to the glorious Kingdom where my dear treasure16 now resides, for whom I sigh and weep alone here below, nourishing the token of his love in my breast, AGACCIO ; and my thoughts are turned to the sign of honored virtue; and I condemn those who are supported only by fortune, and I scorn purple robes and hold gold in disdain.17 But for me the days and hours are not eternal, nor does my crude style equal the terse style of the lady18 who drew others away from error. Your kind words merit worthy praise, since these bring splendor to this age and will bring you blessed, eternal spring. (B. Torelli Benedetti)

16. A reference possibly to Torelli’s dead husband, whose soul resides in heaven, or to the divine good—a blurring reminiscent of Vittoria Colonna. 17. Torelli’s expression of her contempt for worldly goods here is consistent with the position of the eponymous protagonist of Partenia, and follows the tradition of “spiritualizing” lyric verse begun especially by Vittoria Colonna (see Abigail Brundin, “Vittoria Colonna and the Poetry of Reform,” Italian Studies 57 (2002), 61–74). 18. The lady (lei): apparently a reference to the Virgin Mary, who brought about human salvation by giving birth to Christ, and was considered by Catholics as the most important intercessor between mankind and God (see Haskins, Who is Mary?, “Introduction”).

Appendix B 321 4. Verse exchange with Paolo Filippi dalla Briga, secretary of the Duke of Savoy (printed 1607)19 Perché s’ammira in uom ch’ingegno et arte Con facondo parlar, scritto sottile Mostra in opre di grave o basso stile, S’egli è versato ne le dotte carte? S’ammiri in donna, che mai non fu in parte Ove s’insegni stil grave od umile, Il dire a quel de’ più dotti in simile, Et il cantar d’Amore opre, e di Marte. Muse pronte venite, e’l verde alloro Di BARBARA al bel crin cingete intorno, Degna d’albergo nel Parnaso monte. E se lice a l’antico e santo coro Il numer pareggiar, questa si conte Tra voi, che molto egli sarà più adorno. (P. Filippi dalla Briga) Why is a man admired who shows wit and art in his eloquent speech, and subtlety in his written works of grave or humble style, if he is versed in letters and learning? Admire rather the words of a lady, who never entered the places where grave or humble style are taught, which resemble the words of the most learned,

19. Rime di Paolo Filippi dalla Briga, Segretario del Sereniss. di Savoia, Alla Nobilissima sua Donna dedicate (Venice: Appresso Zuane Zenaro, 1607), fol. D3r, sonnets LXXVI (to Sig. Barbara Torella Benedetta)–LXXVII (Torelli to Filippi dalla Briga). Filippi dalla Briga’s verse appears also in his I Complimenti (Turin: Per Gio. Domenico Tarino, 1608). The volume of Rime is linked to courtly circles round Turin and Parma, and is dedicated to an unidentified lady (Signora N), Turin, January 15, 1601 (fol. A2r). The verse deals mainly with the theme of love, but also with spiritual, moral, and occasional subjects; for example, it celebrates Ranuccio Farnese, Duke of Parma (LXXIV, D2v), and the Accademia degli Innominati of Parma, of which Filippi was a member (fol. D4v, Sonnet LXXIX, see also fol. D7v). Filippi dalla Briga sent Torelli a sonnet to correct after meeting her and hearing her recite some of her poetry (I Complimenti. Venice: Appresso Zuane Zenaro, 1607, 126). In the British Library copy 1085. L. 13 (1–2), this anthology precedes the Rime, with a separate title page and pagination.

322 Appendix B and the singing of the works of Love and of Mars.20 Come ready Muses, and crown with verdant laurel the fair tresses of BARBARA , who is worthy to dwell on Mount Parnassus. And if the ancient and sacred chorus permits their number to be evened,21 let her be counted among you, and bring your group far greater adornment. (P. Filippi dalla Briga) A me manca, Filippi, ingegno ed arte, E facondo parlar, dotto e sottile; Onde non deve il mio sì basso stile Annoverarsi ne l’illustri carte. E se tu ammiri, ammira questa parte, Ch’  oso pallustre22 augel rocco ed umile Farmi a’ canori cigni ahimè simile Sì, che Amor forse se ne sdegna, e Marte. E se ben brama aver di verde alloro Al crin negletto mio corona intorno, E di poggiare al bel Parnaso monte, Non però merto là nel sacro coro, Fra le virtuti manifeste e conte, Il numer pareggiar di gloria adorno. (B. Torelli Benedetti) I am lacking in wit and art, Filippi, and eloquent speech, both learned and subtle; so my lowly style should not be 20. The works of the god of Love and Mars, the god of War, refer here respectively to lyric poetry, which maintained a middle style, and epic poetry, which used a high or “grave” style. It is unclear whether, by the latter, Filippi dalla Briga means to refer to Torelli’s Partenia, with its tragic register, or to other compositions perhaps of substantial epic or religious narrative poems, as composed around the same time by, for example, Moderata Fonte, Margherita Sarocchi, Lucrezia Marinella, and possibly also by Maddalena Campiglia (Cox, WW, 149–51; “Prodigious Muse”, chs 4–5). 21. Drawing on a conventional topos, it is suggested that Torelli could become an additional, tenth muse. 22. In standard Italian palustre (of the marshes).

Appendix B 323 counted among illustrious writings.23 And if you admire them, admire only the fact that I, a hoarse and humble bird of the marshes, dare to compare myself, alas, to sweet-voiced swans,24 such that Love perhaps is scornful, and Mars. And though I dearly wish to crown my unadorned locks with green laurel, and to dwell on the lovely Mount Parnassus, yet I am not worthy of joining the sacred chorus, with their clear and celebrated virtues, equaling their number, adorned with glory. (B. Torelli Benedetti)

5. Prefatory sonnet for Paolo Filippi dalla Briga’s I Complimenti (1608)25 L’ingegno ammiro in vive e belle carte, Chiaro FILIPPI , e’l valor vostro altero, Per cui da l’Indo Idaspe al grande Ibero Già celebrato sete in ogni parte. E da voi celebrato in Rime sparte Un nobil FIOR veggio, vostro Idol vero, Del bel femineo sesso onor primiero, A cui sì degne gratie il Ciel comparte. Di lei, che in dolce Briga ogn’or vi tiene, 23. Torelli’s counters with characteristic modesty Filippi dalla Briga’s hyperbolic praise of her poetic skills, suggesting that only her daring aspiration for poetic greatness is worthy of admiration, not her work itself. Interestingly, she does not contest his point about the lack of opportunities for her sex to attain the same eloquence and learning as men. 24. The swan was a standard figure for the poet. 25. I Complimenti di Paolo Filippi dalla Briga, Segretario del Serenissimo di Savoia, Scritti già da lui in nome dell’Eccellentiss. Sig. Marchese d’Este, … Di nuovo dall’Autore medesimo migliorati, accresciuti, & Al Serenissimo Vittorio Amedeo Principe di Piemonte dedicati, Impressione Quarta (Turin: Per Gio. Domenico Tarino, 1608), fol. *6v (copy consulted in British Library 1578/1736). This revised edition includes a new dedicatory letter by Filippi dalla Briga (December 15, 1607), as well as 13 further prefatory poems, including a distich by Giovanni Botero and this sonnet by Torelli, which suggests that she was still living in 1607. This sonnet was not known to Affò (Memorie, 4:297).

324 Appendix B Scrivendo andate con sì alti concetti, Che Cinto arrestar fate, et Hippocrene. Non son quali io vorrei, lassa, i miei detti, Per lodar voi, e chi per voi ritiene Eterno il nom ne’ vostri alteri affetti. I admire your mind in these lively and lovely pages, illustrious FILIPPI , and your great merit, for which you are already celebrated in every region, from the Indian Hydaspes to the great Iber.26 And I see, celebrated by you in scattered rhymes27 a noble FLOWER ,28 your true idol, first honor of the beautiful female sex, to whom Heaven apportions such worthy graces. In writing about this lady, who always keeps you in sweet quarrel,29 you use such lofty conceits that you halt Cynthus and Hippocrene.30 My words, alas, do not suffice for my wish to praise you and the one whose name through you remains eternal in your noble affections.

26. The River Hydaspes (Jhelum) flows through modern-day Pakistan in the East; the River Iber (Ebro) is the largest river in Spain, delimiting the reach of Filippi dalla Briga’s fame in the West. 27. Reference to Petrarch’s Rime sparse (lit. “scattered verse”) for Laura. 28. The “noble flower” is an allusion to Filippi dalla Briga’s literary love (Signora N). 29. An untranslatable pun is made here on Briga’s name (lit. “quarrel” or “trouble”). 30. On Mount Cynthus, connected with the sun-god Apollo, see appendix A, n92. Hippocrene is the fountain of the muses on Mount Helicon. The reference to halting Cynthus may evoke stopping the sun.

Appendix B 325 6. Letter from Barbara Torelli Benedetti to an unnamed addressee (Duke Ranuccio Farnese?)31 Ser[enissi]mo S[igno]re et Patron Coll[endissi]mo Quand’io parlai a vostra Alt[ezz]a Ser[enissi]ma in casa della S[ignora] Donna Isabella suplicandola che si degnasse restar servita di far libero dono a mio fratello di quelli beni della Pissavacca ch’ora al presente egli gode la mercè sua, ella mi comandò che come il Riva si ritrovasse in questa terra io le scrivessi una mia polizza, sì come or faccio, suplicandola di novo a voler farli la sudetta gratia, essendo sicura che non la pò lo far ad’alcun suo serv[ito]re che lo possa mai avanzzare né di devotione né di fedeltà, con che umilissimamente, me le inchino, et bascio le mani. Di casa il dì 13 Dicembre 1603 D[i] V[ostra] Alt[ezz]a Ser[enissi]ma Humilissima, e devott[issi]ma serva Barbara Torella B.

To my most serene Lord and honored patron When I spoke to your Highness at the house of Lady Isabella [Pallavicina?], begging you to do the honor of bestowing freely upon my brother those possessions of Pissavacca,32 which he at present enjoys through your merciful kindness, your Highness ordered me to write a policy of mine for Riva,33 since he was then in this territory. This I am doing now, and begging your Highness again to bestow this aforementioned grace on my brother, for I am sure that His Highness could

31. ASP, Archivio di Famiglie—Torelli, b. 19, fasc. XI. 1. This is the only surviving autograph example of Torelli’s writing. See fig. 1. 32. Pissavacca: this may refer to lands close to the Dolomites range, which border the territories of Vicenza, Verona, and Trento, north of the Valle dell’Astico. 33. Bartolomeo Riva, a Piacentine, was one of Duke Ranuccio Farnese’s most trusted ministers, and treasurer general until his death in 1620 (Drei, I Farnese, 167).

326 Appendix B not find any other servant of his capable of outdoing his devotion or fidelity. With this I most humbly take my leave and kiss your hands. From home, December 13, 1603, The most humble and devoted servant of your most serene Highness Barbara Torella B.

Bibliography Manuscript Sources Archivio di Stato, Mantua (ASMa) D’Arco, Carlo, Delle Famiglie Mantovane, 7 vols [n.d., but nineteenth century]. Documenti Patri raccolti di Carlo d’Arco, ms 51, nos 214–220. Archivio di Stato, Parma (ASP) Archivio Notarile. Archivio di Famiglie—Torelli. Epistolario Scelto. Registri Battesimali (microfilm). Archivio di Stato, Reggio Emilia (ASRE) Fondo Privati, Archivio Malaspina-Torello, famiglia. Biblioteca Angelica, Rome Torelli Benedetti, Barbara. Partenia, favola pastorale (n.d.), ms 1690. Biblioteca Bertoliana, Vicenza Pagello, Livio, La Cinthia, comedia boscareccia del S.e Livio Pagelo [sic], Academico Olimpico [n.d.], ms Gonzati, 169. Biblioteca Marciana, Venice Xqcbdfm Hqxmllm, Gentildonna lucchese [Leonora (Belatta) Bernardi?], Tragicomedia pastorale (n.d., c. early 1590s), ms It.IX.239 (6999). Biblioteca Statale, Cremona Torelli Benedetti, Barbara. Partenia, favola boschereccia (n.d.). Deposito Libreria Civica, ms AA.1.33.

327

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Index Aeolus: 28, 225, 239, 286n105, 299n54; mythical children of (Canace and Macareo), 28 Aeschylus, 281n46, 290n5, 293n24 Affò, Ireneo, 51, 56 Agaccio, Giovani Maria, 10, 12,19–20, 36, 318–20 Alcaeus, 318 Aldobrandini, Margherita, 312n106 Alessandrini, Girolamo, 316n5, 318n9 Alexander the Great, 308–09 Ambrose, 278n16 Aminta. See Tasso Andreini, Isabella, 1, 3, 18, 58; Mirtilla, 1, 24n57, 39n98, 50, 58n14, 282n63, 283n72 Angosciola, Lucretia Scotti, 13n27 Anguissola, Sofonisba, 310n104 Antiniana, 39, 110–11, 164–65, 281n50 Apollo (Phoebus): 92–93, 277n8, 278n28, 280n42, 290–91, 292n17, 296–99, 303–04, 305n85, 307n92, 313, 318– 19, 324n30; and Admetus, 93, 279n29, 302n70; and Daphne, 93, 278n28, 291n7, 302n71; father of Orpheus, 292n17; god of the sun (Helios), 277n8, 283n71; and Leucothoe, 278n28

academies, 1, 8, 11, 15–19, 24, 26, 31, 47-48, 52, 308n95, 313n111 Accademia degli Affidati (Pavia), 7 Accademia degli Amorevoli (Parma), 17n37 Accademia Filarmonica (Verona), 300n64 Accademia degli Innominati: 7n11, 17–20, 22, 26, 49, 287n124, 290n2, 291n7, 297n42, 301n68, 302n73, 303n76, 308nn95, 308n98, 310nn104–05; devotion to the Virgin Mary, 34n81; and dramatic theory 19–20, 47, 49, and Guarini, 48n115; and Tasso,18; and Torelli, 19–20, 31, 44, 301n68, 311n106, 313n111, 316n5, 318, 321n19 Accademia degli Intenti (Pavia), 18 Accademia degli Intronati (Siena), 24, 31n75 Accademia Olimpica (Vicenza), 19n43 Accademia degli Ortolani (Piacenza), 17n37 Accademia dei Pellegrini (Parma), 17n37 Acontius (and Cydippe), 282n62 Actaeon. See Diana Adonis. See Venus adynaton. See pastoral conventions

347

348 Index Arachne, 310 Arcadia: 2, 26, 295n30, 304; Arcadia. See Sannazaro and Marinella Ariosto, Lodovico, 280n43, 280n45, 288n135 Aristotle: biological writings, 283n66, 285n92; Latin translation of, 18n39; neoAristotelian thought, 8, 17, 31, 277n6; Poetics, 17, 25–26, 31, 44, 284n77, 287n130 Asinari Valperga, Margherita, 49 Astolfi, Giovanni Felice, 50 Athena (Pallas Athena, Minerva): 279n34, 313; and Arachne, 310n103 Baldi, Bernardino, 11, 19n44, 20, 22, 47, 48n116, 58n13, 290n6, 291n8, 294n27, 299n57 Battiferri, Laura: 21, 40, 48n117, 58n14; portrait, 310n104 Beccari, Agostino, 25, 28, 34n83, 278n22, 282n61 Beffa Negrini, Antonio, 19n44, 58n13, 312–13 Bembo, Pietro, 22 Benedetti, Giovanni Paolo, 9–10, 319n15 Bergalli, Luisa, 50–51, 315n1 Boccaccio, 8, 277n15, 282n64, 295n34, 315n3, 319n15 Bonarelli, Guidubaldo, 16n35, 282n58 Borgogni, Gherardo, 294n27, 308n95 Botero, Giovanni, 323n25

Bracceschi, Corinthia, 315n2 Bronzini, Cristoforo, 50 Brusantini, Paolo, 46n112 Calandra, Silvio, 27n67, 46n113, 47, 276n2, 294n27, 307–08 Calisa. See Pallavicino Lupi, Isabella and Campiglia, Maddalena Calliope (muse), 292n17 Campana, Cesare, 5n7 Campiglia, Maddalena: 1, 3, 11, 12n25, 19n43, 20, 22n53, 26, 32, 45, 305n84, 306n90, 310n104, 316n3, 322n20; Calisa, 22n53; and Curzio Gonzaga, 305n84; Discorso… Sopra l’Annonciatione, 34n84; Flori, 1, 26, 28n68, 31, 32, 33nn79–80, 34n83–84, 39, 48–50, 52, 58, 276n4, 278n22, 278n27, 280n45, 282n60, 284n85, 298n49, 300n66, 303n76, 305n84; and Torelli, 11, 49 Carino (character), 268–69, 288n134 Carlo Emanuele I, Duke of Savoy, 16, 42 Castalia, 304–05, 307n92 Castelvetro, Lodovico, 286n110 Castiglione, Baldassare, 7, 27, 33n80, 43, 313n111 Cattaneo, Prospero, 47, 49, 294n27, 303 Clori (character), 27, 30n72, 35, 45n109, 71, 222–29, 232–251, 254–55, 264–271 286n104

Index 349 Clubb, Louise George, 21–22, 39 Collecchio, 26, 70–71, 276n2, 286n113, 287n127, 292n15 Colonna, Vittoria, 2, 20, 40, 299n56, 320nn16–17 Contarini, Adriana Trevisani, 12n25 Contarini, Luigi, 45, 50n123 convent drama, 2, 8, 24, 33n80, 35, 37–38 Coridone (character): 9–10, 29– 30, 32, 33, 36, 39–40, 70–71, 98–99, 118–19, 126–39, 152–87, 192–93, 264–69, 276n5, 284n77, 284n79, 284n89, 285n94, 288n132; in DV, 277–78n15, as figure for Torelli’s husband, 9–10, 29n70; misogyny of, 128–29, 283nn66–67; name, 282n63 Council of Trent. See Counter-Reformation Counter-Reformation, 2, 3, 13, 17, 22, 25, 34–35, 37n91 Cox, Virginia, 7, 22, 25 Cremonini, Cesare, 283n72 Crescimbeni, Giovanni Mario, 50, 51n123 Cromi (character): 70–71, 140–43, 196–99, 208–09, 222–23; and Diana, 35, 284n73; jealousy of Leucippo, 196–97; name 283n72; and Partenia, 30, 32, 35, 194–97, 208–09, 283n72 Cucchetti, Giovanni Donato, 43n105 Cupid (god of love). See Love

Cynthus. See natural phenomena, mountains Cytherea. See Venus da Piacenza, Giovanna, 38n93 Dante, 8, 32, 277n9, 278n19, 281n46, 295n34, 296n37, 315n3 Danza di Venere (Dance of Venus). See Ingegneri, Angelo d’Aragona, Tullia, 32n77, 47, 296n37 Delia. See Diana Della Chiesa, Francesco Agostino, 14, 50 Denarosi, Lucia, 19–20 Denores, Giason, 47n115 de’  Pazzi, Alessandro, 18n39 Diana (Cynthia, Delia): 277n13, 280n39, 303n77, 307n92, 310; and Actaeon, 278n17; and Endymion, 280n39; and the Furies, 28, 33, 44, 285n94; goddess of chastity, 30, 33, 36, 138–39, 148–49, 284n80, 286n107, 303n77; goddess of the moon, 277n8, 283n71, 303n77, and Mars, 304; parallels with Virgin Mary, 34–35, 162–63, 236–37, 279n34, 284n87; temple of, 27–28, 124–25, 236–37, 282nn61–62 (see also religion, in pastoral) Dido, 319n15 Divine Providence, 34 D’ Oddi, Sforza, 31n75 Dionysus, 299n52

350 Index Domenichi, Lodovico, 7 Draconi, Cristoforo, 57 drame à clef, 9, 27 echo device: 28, 44, 190–91; mythological figure, 285n90 Electra, 47, 290, 294n24 Elpino (character): 27, 70–71, 142–53, 198–217, 231–37, 249–53, 262–63; name, 30n72, 284n74 Elysium (Elysian Fields), 106–07, 281n48 Ergasto (character): 27–28, 32, 34–37, 70–71, 110–11, 136–37, 142–51, 180–81, 194–95, 204–217, 223–24, 228–241, 246–53, 256–71; name, 284n74 Euripides, 31, 45, 279n29, 282n65, 290nn3–5, 294n24 Eurydice (Euridice), 281n56, 292n17 (see also Orpheus) Farnese: 1–2, 4–5, 7n11, 13, 15, 26, 43, 55, 311n106; Alessandro (Cardinal), 17n38, 310n101; Alessandro (Duke), 5n5, 6, 276n2, 282n65, 307–08, 310n101, 311n106; Clelia, 310n101; Ferrante (Bishop), 316n5; Margherita, 316n4; Ottavio (Duke), 5–6, 17, 19n46, 27, 46n113, 276n2, 276n5, 277n11, 285n102, 308nn96– 97; Pier Luigi (Duke), 17; Ranuccio (Duke), 6, 17, 22n53, 38n93, 43, 276n2,

297n42, 311n106, 321n19, 325 female agency, 38–40, 53 Ferrini, Vincenzo, 12, 20, 316, 317nn6–7 Ficino, Marsilio, 32, 277n10 Filippi dalla Briga, Paolo, 8, 12–14, 19, 51n124, 321–24 Flori. See Campiglia Fonte, Moderata, 8, 322n20; Il merito delle donne (The Worth of Women), 21n50, 33n80, 39n97, 40, 282n64; Le Feste, 8, 24 Fortune, 12, 105, 127, 130–33, 144–47, 186–87, 206–07, 256–57, 281n55, 299n56, 319–20; wheel of, 284n77 (see also Divine Providence) Franco, Veronica, 12n25, 21 friendship, 3, 39–40, 47, 49, 72–75, 88–93, 178–79, 185–86, 186–87, 192–93, 277n6, 278n26, 282n60; in Campiglia’s Flori, 39n98 Furies (mythological), 28, 106–07, 152–53, 224–25, 238–39, 281n46 Galli, Vittoria, 291n8 Gambara, Veronica, 21 Garofani, Antonio Maria, 13 Giraldi Cinthio, Giambattista, 24, 29n69, 30, 283n72, 286n105, 286n110 Golden Age. See pastoral conventions Gonzaga: 15, 44; Cesare, 27,

Index 351 33n80; Curzio, 48–49, 55n6, 294n27, 302, 304–05, 318n9; Eleonora d’Austria (Duchess), 280n37; Eleonora de’ Medici (Duchess), 42, 49n119; Ferrante I, 4n3; Ferrante II, 15, 19, 20, 42, 46n112, 47, 55n6, 66, 294n27, 302, 305n84, 318n9; Scipione, 305n84; Vincenzo I (Duke), 42–43, 303n76, 316n4; Vittoria Doria, 9n17, 42, 44 Guarini, Battista: critic, 25–26, 30n72, 34, 41, 47n115, 302nn72–73; Innominato academician, 18–19, 302n73; Pastor fido 1, 2, 16n35, 19, 26, 28n68, 29, 31–32, 34, 37n92, 39, 46, 47n115, 278n22, 278n24, 281n54, 282n61, 282n63, 283n70, 284n75, 284n80, 285n90, 288n130, 288n134, 302nn72–73, 305n84; and Torelli, 19, 23, 50 Guastalla, 4, 15, 20, 41–42, 46, 48, 53 Guidiccioni Lucchesini, Laura. See Lucchesini, Laura Guidiccioni Helicon, 297n46, 299n55, 324n30 Hesiod, 283n71 Homer: Iliad, 31, 279n34, 281n46, 293n23, 310n105; Odyssey, 279n31, 281n48, 286n105, 298n48, 310n105; and Torelli, 8, 309–10

Horace, 286n110 Ingegneri, Angelo: as critic, 19, 23–24, 30n72, 46, 278n22, 280n41, 282n57, 284n83; Danza di Venere, 19n46, 28n68, 29n69, 31, 32n78, 34n83, 43, 276nn4–5, 277n15, 281n51; as Innominato, 19n46; and Ottavio Farnese, 276n5; pseudonym Leucippo, 27, 276n4; and Torelli, 19, 23, 27, 31n74, 46, 49, 50 Jove (Zeus): 92–93, 96–99, 159, 195, 230–31, 279n30, 280n40, 291–92, 293–94; father of Apollo, 278n28; father of Hercules 279n33; father of Mars, 279n31 Lalatta, Veltro (Veltrio), 5 Leucippo (character): 27, 28–29, 32, 34, 36–37, 70–71, 72–95, 124–25, 130–39, 148–49, 173–93, 196–223, 230–33, 236–37, 240–45, 250–63, 266–71, 276n5, 278n24, 278nn26–27, 283n69, 284n89, 285n93, 285n96, 285n103, 287n125, 288n131, 300; and friendship, 40, 72–77, 85–93, 179–193; name, 276n4; recognition of, 29, 256–263, 278n26 (see also Ingegneri, Angelo) Lice (character): 29, 32, 34, 39, 40, 70–71, 100–23, 166–71, 264–65, 276n5, 277n9,

352 Index 280n43, 281n47, 284n83, 284n85, 287n120, 288n132; name, 280n42 Litta, Pompeo, 51 Lollio, Alberto, 29n69, 30, 33n79 Longhi, Barbara, 11 love: chaste, 32–34, 47, 94–99, 278n17, 300; companionate, 32, 34n84, 135, 200–01, 210–11, 278n26, 288n133; deception in, 40, 128–29, 178–79, 190–91, 240–43, 282n62, 298, 310n103; earthly, 2, 32, 39, 98–99, 108–11, 280n44, 284n85, 288n133, 297n44, 313n114; enduring, 32, 118–19, 130–31, 156–57, 160–61, 282n58; fraternal, 75–77, 87, 183–85, 193; Hercules’ feats of, 93, 279n33; incestuous, 31, 282n65, 286n105; jealousy in, 29, 33, 39–40, 126–29, 154–57, 279n33; marital, 10, 29–30, 282n63; maternal, 9, 262–63, 285n92; neoplatonic, 2, 22, 29, 32, 277n10, 277n15, 281n47, 284n78, 284n85, 287n123, 297n44; in Partenia, 32–34, 40, 47, 86– 87, 88–99, 110–11, 122–25, 172–73, 279n30, 288n133, 289–90; and the pastoral, 21–22, 28, 47, 280n38, 281n56, 284n87, 288n133; paternal, 32, 144–51, 208–09, 230–31, 286n116; rivalry in,

2, 28, 31, 40, 90–95, 218–21, 278n26, 283n73, 300; samesex, 39n98, 303n76; secrecy in, 28, 40, 178–79, 182–83, 188–93; sensual, 29–30, 38– 39, 96–99, 140–43, 196–97, 216–17, 276n6, 313n113, 313n116; stil novo, 32, 277n9; unrequited, 132–35, 280n45, 285n90 Love (god): 30, 78–81, 86–89, 90–93, 104–05, 122–23, 130–33, 140–41, 162–65, 176–77, 192–93, 201, 278n27–28, 279nn31–32, 284n87, 285n91, 285n94, 286n115, 298–99, 312–13, 316–17, 319; and Hercules, 92–93, 279n33, 286n115; invincibility of, 92–93, 172–73, 278nn27–28; and War, 279n31, 303–04, 322–23. See Venus Lucchesini, Laura Guidiccioni, 24 Luke (Gospel), 35, 36, 285n97, 285nn97–99 Lunghi, Barbara. See Longhi, Barbara Lupi, Camilla, 43n105 Lupi, Isabella Pallavicino. See Pallavicino Lupi, Isabella Malaspina, Camillo, 19n44, 59, 289, 296–98 (see also Pallavicino Lupi, Isabella) Manfredi, Muzio: 9–12, 14–16, 20, 22, 42–46, 48–50, 66, 294n27, 303n76, 315, 316n4,

Index 353 318n9; Contrasto amoroso, 9–10, 44, 49, 276n4, 306n90; and Ferrante II Gonzaga, 15– 16, 42–43; and Innominati Academy, 18–20, 22; and Pallavicino Lupi, 11, 22n53, 49; and Partenia, 22, 42, 45, 46n111, 47–50, 53–54, 59–61, 276n1, 277n6, 277n8, 283n65, 283n68, 284n88, 285n95, 286n116, 287n122, 287n124, 289–91, 306–07; Semiramis boschereccia, 28n68, 48; Semiramis tragedia, 12, 16n35, 42, 47, 48, 51, 303n76, 315–16; and Torelli, 9, 14–15, 20, 22, 25n60, 42, 44, 49, 51, 53, 276n1, 303n76, 315–16 Mantua, 4, 15–16, 41, 42, 43, 46, 48, 53, 295n31, 303n76, 305n84, 308n95, 313n111 Margaret of Austria (Duchess of Parma), 285n102, 308n98 marianism, 35–36 Marinella, Lucrezia: Arcadia felice, 21n50; and religious narrative, 322n20 marriage: 8, 30, 37-38, 40, 49; arranged (forced) 3, 3233, 36, 37n91, 40, 134-35, 150-51, 182-83, 212-13; of Barbara Torelli Benedetti, 8-10, 319; Church fathers on, 38; companionate, 34n84; in Danza di Venere, 276n4; Diana as protector

of, 277n13; of Ferrante II Gonzaga, 15, 302n69; and Hymen, 286; love in, 30, 33, 34n84; of Maddalena Torelli Lalatta, 5; of Partenia, 2, 28, 33, 134-35, 150-51, 182-83, 212-15, 218-19, 244-45, 252-53, 270-71; of Vincenzo Gonzaga, 303n76, 303n76; n118, 319n15 Mars (god), 279n31, 304, 322–23 Massimo, Camillo Carlo (Cardinal), 54–55 Medea (character), 47, 288n135, 289–90 Medici: court of, 24; Lorenzo de’, 21. See Gonzaga, Eleonora de’ Medici Miani Negri, Valeria, 26, 58, 283n72; La Celinda, 25n60 Minerva, 279n34, 312–13 Molza, Tarquinia, 18 Mondella, Francesco, 58n13, 299–301 Montechiarugolo, 4–6, 295n35, 301n68 Mopso (pastoral figure), 295n32, 296. See Girolamo, Muzio Morigi, Giulio, 18n42 Musacchi, Maddalena. See Torelli, Maddalena Musacchi Muses: chorus of, 45, 279n28, 294n26, 297n46, 299n55, 305n85, 307n92, 318–19, 321–22, 324n30; Calliope, 292n17; Clio, 306n89; Euterpe, 297, 306; Thalia

354 Index (Talia), 29, 47, 279n36, 296n37, 299, 302n73, 306n89; Torelli and, 293–94, 299n57, 322n21 Muzio, Girolamo, 47, 294n27, 295n32, 296n37 (see also Mopso) natural phenomena flowers: 76–79, 83, 115, 121– 22, 139, 171, 269, 278n16, 281n51, 286n104, 308, 310, 324 mountains: Armato, 27, 28, 238–39, 252–53, 268–69, 286n113; Cynthus, 307, 324; Mongibello (Etna), 166–67, 284n84; Parnassus, 92–93, 279n28, 305n85, 307, 322–23 rivers: 27, 79, 83, 165, 168–69, 292n15, 295n30; Amphrysus, 302; Aretusa, 295; Arno, 295; Ebro (Iber), 324; Enza, 295, 301; Formio, 295; Hebros, 311; Hydaspes, 324; Mincio, 295; Parma, 296; Permessus, 297; Po, 295n35, 296n38; Sebeto, 295; Styx, 282n59; Taro 27, 258–59, 287n127, 292, 295n35; Xanthos (Xanthus), 293 springs: 77, 139, 295; Castalia, 305, 307n92 trees: 27, 79, 167, 197, 278n28, 291n7, 319; alder, 319n12; beech, 105, 171; laurel, 105, 163, 279n28,

291n7, 319n12; writing on, 39, 170–71, 280n45, 284n86 Navarre, Marguerite de, 24n57 neoplatonism. See love, neoplatonic and platonism Noceti, Claudia, 19 Notus (god), 299 Orpheus, 120–21, 281n56, 282nn58–59, 292n17, 311 Ottinio, 27, 46n113, 73, 77–81, 111, 135–39, 163, 181, 215–17, 259, 276n2, 276n5, 278n25, 285n94, 285n103, 308 Ovid: Fasti, 281n51, 286n104; Heroides, 8, 278n20, 282n62, 282n64, 286n105; Metamorphoses, 8, 277n6, 278n17, 278n28, 279nn31– 32, 291n7, 292n17, 310n103, 313n114; Torelli and, 8 Pagello, Livio, 33n79 Pallantieri, Girolamo: 20, 46n113, 47, 287n124, 287nn128–29: and Innominati, 19n44; poetry of 22, 47–48, 287n124, 287nn128–29, 294–95, 296n37; pseudonym Pallantio, 27, 46n113 Pallavicino Lupi, Isabella: 11, 13n27, 22n53, 23n54, 43–44, 49, 62, 280n42; pseudonym Calisa, 27, 287n126 Pan (god of Arcadia), 34, 74–75, 141, 276n6, 283nn72–73, 296n36 Parma (and Piacenza): 1–2, 4–6, 9, 10n21, 13, 15–18, 20, 22–23,

Index 355 26–27, 33, 37, 43, 46, 47n115, 48, 70–71, 276nn1–2, 260–61, 276n2, 276nn4–5, 277n11, 287nn126–27, 291n8, 292n15, 294n27, 295n35, 296n38, 297n42, 303n76, 305n86, 308n95, 308nn97– 98, 309–10, 311n106, 313n111, 316nn4–5, 318n9, 321n19; Parma Index, 41 (see also Accademia degli Innominati and natural phenomena, rivers, Parma) Parnassus. See natural phenomena, mountains Partenia. See Torelli Benedetti, Barbara Partenia (character): 2, 28–30, 32–40, 44–45, 70–71, 94–99, 138–141, 172–73, 194–97, 206–13, 222–29, 232–33, 236–249, 264–65, 277n10, 282n62, 284n73, 285nn92–94, 286n109, 286n111, 287nn119–20, 295–96, 300n65, 306–07, 303; and Diana, 2, 28, 33, 35, 44, 95–97, 124–25, 138–39, 148–49, 180–81, 194–97, 210–11, 224–27, 228–29, 236–39, 281n54, 284n80, 303, 304n79 (see also love, chaste and virginity); name, 33, 37, 279n35, 313n112; spiritual values of, 32–33, 35–36, 224–27, 250–51, 284n85, 288n133, 301

Pastor fido. See Guarini, Battista pastoral conventions: adynaton, 280n40; allegory, 27, 37, 287n124; Arcadian setting, 2, 26; dreams, 28, 281n54; echo device, 28, 44, 190–91, 285n90; false suicides, 30, 286n109, 286n117; gifts, 214–17, 260–61, 285n100; Golden Age, 30, 37, 136–37, 283n70; lost children 29, 148–49, 262–63, 284n75; names, 27, 278n24, 280n42, 282n63, 283n72, 284n74, 286n104, 288n134; religion, 2–3, 22, 28, 37, 40–41, 278n22, 281n51, 284n87, 288n113; satyr, 25, 283n72; tombs, 27–28, 282n60; writing on trees, 281n45 (see also love, and the pastoral) pastoral drama: experiments with, 19–20, 22, 25–26, 31, 40–41, 52; female characterization in, 2, 20, 23, 25–26, 35, 39–40, 45, 280n38; happy ending in, 2, 29, 34, 284n75, 302n73; offstage death, 286n110; performance of, 23–24, 42–45, 39; recognition device in, 29, 287n130, 288n134; and religion 2–3, 22, 28, 31–34, 37, 40–41, 278n22, 284n87; reversal of plot in, 29, 284n75; tragic and comic elements of, 1–2, 23–26, 29–31, 45,

356 Index 283n70; women and, 1–3, 8, 21–24, 26, 33, 43–44, 49–50, 280n45 (see also pastoral conventions) Paul (saint), 38 performance: 278n23; academies and, 17n37, 19n46, 24, 44; of Partenia, 1, 15n34, 42–44, 49, 52; of pastoral plays, 19n46, 21n50, 23n54, 24, 27, 43–45, 276n4, 281n56, 282n61; women and, 24, 38, 43–44, 49 Petrarch, Francesco: 2, 8, 22, 32, 295n34, 297n43; Bucolics, 37, 295n34; Rime Sparse, 2, 277nn9–10, 277nn14–15, 278n17, 278nn20–21, 285n103, 286n115, 297nn43– 44, 304n78, 324n27 Pezzana, Angelo, 51 Phaedra (character), 45, 47, 282n65, 283n65, 290n4, 307 Phoebus. See Apollo Piacenza. See Parma (and Piacenza) Pico della Mirandola, Giovanni, 6 Pico, Ranuccio, 51 Pio of Savoy, Marco, 8, 58n13, 310 platonism, 17, 32n77, 277n6, 277n15 (see also love, neoplatonic) Poliziano, Angelo, 21, 281n56 Pulci, Antonia Tanini, 24n57, 33n80, 35, 38–39; Saint Guglielma, 35, 38

Quadrio, Francesco Saverio, 50 querelle des femmes, 3 recognition. See pastoral drama religion: Innominati and, 17; in pastoral, 2, 22, 41n101, 281n51, 322n20; Torelli and, 2–3, 8, 12–13, 20–21, 26, 28, 31–38, 41, 277n9, 278n22, 284n88 (see also convent drama; Counter-Reformation and Marianism) reversal (catastrophe). See pastoral conventions Riva, Bartolomeo, 325 Roches, Catherine des, 24n57 Sannazaro, Jacopo, 2, 21, 33n81, 278n24, 280n40, 280n42, 280n45, 282n60, 284n74, 288n134, 295n33 Sanseverino Sanvitale, Barbara, 43, 285n102 Sanvitale, Fortuniano, 19n44, 309n98, 311, 318n9 Sappho, 278n20, 318–319 Sarocchi, Margherita, 322n20 satyr, 30, 32, 35, 40, 70–71, 140–43, 222–23, 283n70, 283nn72–73 (see also Cromi and Pan) satyr drama, 25 Scaglia, Desiderio (friar), 316n5 Secchi, Nicolò, 13n27 Semiramis, 315n3 (see also Manfredi, Semiramis tragedia) Seneca, 281n54, 290n3

Index 357 Sophocles, 29n69, 290n5, 293n24 Speroni, Sperone, 30n72, 31, 286n105 Spilimbergo, Irene di, 46 Stampa, Gaspara, 21 Talia (character): 9, 29–30, 34, 36, 39–40, 45n109, 70–71, 94–101, 152–173, 178–85, 268–69, 276n5, 283n66, 284nn82–83, 285n94, 302n73; earthly perspective of, 38–40; on friendship, 178–79, 182–85, 192–93; healing powers of, 30, 268– 69, 288n135; identification with Torelli, 9–10, 27, 39, 47, 49, 279n36, 306n90; and Lice, 29, 34, 39–40, 100–123, 164–173; and love, 29, 32, 40, 96–99, 128–31, 154–65, 172–73, 284n78, 284n87, 285n94; name, 9, 29, 47, 49, 279n36, 295–96, 301–02, 306nn89–90; as writer, 39, 170–71, 280n45 (see also Coridone; love, earthly and Muses) Tasso, Torquato: 11, 12n25, 41n101, 46, 50, 305n84, 310n101; Aminta, 1, 22, 25, 27, 29–31, 39, 45, 46, 57, 278n27, 280n37, 280n40, 283n70, 283n72, 284n74, 286nn109–110, 286n117, 287n119, 288n135, 296n37; Discorso della virtù femminile, 280n37, 283n67;

Gerusalemme liberata, 11, 18, 19n46, 31, 280n45, 281n53, 282n60, 287n119, 288n135, 309n98; and Innominati, 18, Torrismondo, 31, 41 temple (of Diana), 27–28, 84–87, 94–95, 124–27, 130–33, 138–39, 150–51, 164–65, 176–77, 180–81, 206–07, 226–27, 236–39, 282n61 (see also religion, in pastoral) theatergrams, 25, 39 Theocritus, 21, 295n30 Tiraboschi, Girolamo, 50 Tirsi (character): 28–29, 33–34, 36, 44, 70–71, 174–185, 254–55, 262–63, 277n6, 277nn8–9, 277n12, 301–02; and Echo, 28, 30, 190–191; love rivalry, 28, 40, 186–93, 218–221, 284n89, 299–300; and Partenia, 28–30, 32–34, 44, 80–87, 122–127, 218–19, 226–27, 236–247, 255–57, 268–71, 277n7, 277nn9–10, 277n12, 277n15, 282n62, 284n89, 286n117, 287n119, 288n131; repentance of, 28–29, 34, 238–39, 242–45; revival of, 28, 30, 245, 264–269, 286n117; sources for, 27, 30, 277n15, 278n19; treachery of, 28–29, 32, 33, 124–25, 226–27, 236–37, 240–41, 282n62; in Tasso’s Aminta, 30, 286n109, 286n117, 287n119 (see also

358 Index friendship; Leucippo and love, sensual) tomb, 27–30, 120–21, 165–66, 168–71, 172–73, 184–85, 246–47, 264–65, 282n60, 284n85, 287n120, 288n132 Torelli: Adriano (Count), 5n6, 6n10, 10n21; Alda (Lunati), 7; Barbara (Benedetti) (see Torelli Benedetti, Barbara); Barbara (Bentivoglio Strozzi), 7, 50, 51n123; Caterina, 7n12, 8; Cristoforo (Count), 56; Francesco (Count), 4; Gaspare, 4, 5nn5–6, 6n10, 10n21; Guido, 5–7, 9n16, 10, 51n126; Guido (Count), 4; Ippolita (Castiglione), 7; Ippolita (Simonetta), 43; Lucrezia, 7n12, 8; Maddalena (Lalatta), 5, 7; Maddalena Musacchi, 4, 5n5, 7, 10n21; Pio, 4; Pomponio (Count), 5–6, 17–19, 22, 286n117, 290n2, 295n35, 301n68, 318n9 Torelli Benedetti, Barbara life: authorial self-presentation, 3, 13–14, 20–21, 27, 30, 47, 279n36, 310n104; cultural context, 2–3, 16–22, 27; education, 8–9; family, 4–11, 19, 22–23; and Innominati Academy, 18–20, 26, 31, 44, 301n68, 310n104; literary activities, 1–2, 9, 11–16, 18–20, 25–26, 31–32, 48–50,

321n19 (see also Campiglia; Ingegneri and Manfredi); literary fortune, 1, 3, 13–14, 41–42, 45–47, 49–53, 57; marriage, 9–10, 29n70, 319n15; and Pallavicino Lupi, 11, 27, 43, 49, 258–59; as profeminist, 3, 40, 49; religious connections, 11, 12, 20, 33, 316–17 Partenia: circulation of, 15–16, 23, 41–42, 45–46, 48–50; composition of, 2–3, 6, 9, 21, 24–26, 29, 30, 48–50, 53–54, 60; influence, 3, 24, 49–50, 51n125, 286n110; performance of, 15, 42–45; plot, 28–31, 34–35; profeminist themes, 3, 26, 38–41, 49; reputation of, 1, 13, 19, 23, 45–47, 50, 297n44; sources for, 8, 21–26, 27, 29, 30–31, 35–38, 40–41, 49, 282n63; spiritual aspects, 3, 31–38, 40–41, 47, 283n70, 284nn87–88, 320n17 (see also Talia, identification with Torelli) verse: 1, 3, 9, 11–14, 19, 20, 25n60, 36n89, 37, 47, 51, 315–24, 283n70, 298n49, 319n14, 321n19 tragedy, 5, 6, 12, 16n35, 19, 23–25, 29, 30n72, 31, 34, 39, 41–42, 45, 47–48, 51, 281n54, 282n65, 283n70, 284n75, 284n77, 286n105,

Index 359 286n110, 288n130, 290nn2– 6, 292n14, 293n24, 297n47, 300n64, 302n73, 311n106, 315, 316n3 (see also pastoral drama, tragic and comic features) Trent, Council of. See Counter-Reformation Turin, 16n35, 42, 53, 321n19 Venus (Aphrodite, goddess): 30, 281n51, 313; and Adonis, 279n32; and Aeneas, 294n25; and Hippolytus, 282n65; and Mars, 279n31; mother of Cupid, 278n27, 279n32; mother of Hymen, 286n118; and Paris, 279n34, 280n44 (see also Ingegneri, Danza di Venere) Virgil: 21, 281n54, 295n31; Aeneid, 31, 279n34, 281n48, 281n54, 294n25; Eclogues, 22n53, 27, 37, 280n40, 280n45, 282n60, 282n63, 283n72, 284n87, 285n100, 287n124, 296n37; Georgics, 279n29; and pastoral, 21 Virgin Mary: 12, 33, 35–36, 320n18; and the Innominati Academy, 33n81 virginity: and early Christian church, 36, 38; flower associated with, 278n16; and Hymen, 286n118; of Partenia, 2, 33, 35–36, 45, 94–95, 138–39, 140–41, 194–95, 210–11, 224–25,

279n35, 303; and women on stage, 23–24, 45 (see also Diana; Partenia, and Diana, and Virgin Mary) Visconti dynasty, 4 Visdomini, Eugenio, 19, 58n14, 310n105, 318n9 Zonta, Giuseppe, 52