The proemial sonnet in Gaspara Stampa’s Rime is the place in which the author most closely converses with Petrarca’s Canzoniere to find its own poetical voice, thus overturning the logic of Pietro Bembo’s regular reform from the inside. Actually, since her very first sonnet, Stampa had aimed for a “sublime” dis-convenientia between the word and the lyrical subject. In doing this, Stampa aspired to work out a “female” poetical style, not just by looking to the recent examples of Vittoria Colonna or Tullia d’Aragona, but taking inspiration from the ancient model of Sappho, rediscovered in those years as one of the rhetorical and learned interests of Venetian culture.
Il sonetto proemiale delle Rime di Gaspara Stampa
Giorgio Forni
Primo
2021-01-01
Abstract
The proemial sonnet in Gaspara Stampa’s Rime is the place in which the author most closely converses with Petrarca’s Canzoniere to find its own poetical voice, thus overturning the logic of Pietro Bembo’s regular reform from the inside. Actually, since her very first sonnet, Stampa had aimed for a “sublime” dis-convenientia between the word and the lyrical subject. In doing this, Stampa aspired to work out a “female” poetical style, not just by looking to the recent examples of Vittoria Colonna or Tullia d’Aragona, but taking inspiration from the ancient model of Sappho, rediscovered in those years as one of the rhetorical and learned interests of Venetian culture.Pubblicazioni consigliate
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
