Florentine Drama for Convent and Festival: Seven Sacred by Antonia Pulci

By Antonia Pulci

A skilled poet and a proficient dramatist, Antonia Pulci (1452-1501) pursued vocations, first as a spouse and later as founding father of an Augustinian order. in the course of and after her marriage, Pulci authored numerous sacre rappresentazioni—one-act performs on Christian topics. usually written to be played through nuns for girl audiences, Pulci's performs concentration heavily at the issues of ladies. Exploring the alternative that Renaissance ladies had among marriage, the convent, or uncloistered non secular lifestyles, Pulci's woman characters don't only glorify the non secular existence on the price of the secular. relatively, those ladies think of and care for the undesirable advances of guys, negligent and abusive husbands and suitors, the risks of childbearing, and the disappointments of kid rearing. They deal with families and kingdoms effectively. Pulci's heroines are considerate; their skill for research and motion usually get to the bottom of the ethical, filial, and non secular crises in their husbands and admirers.Available in English for the 1st time, this quantity recovers the lengthy muted voice of an early and critical woman Italian poet and playwright.

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Extra info for Florentine Drama for Convent and Festival: Seven Sacred Plays (The Other Voice in Early Modern Europe)

Example text

After Bernardo's death, Antonia Pulci continued to write and to oversee the production of plays as long as her health permitted, and perhaps received from their printing, if not from their production, some funds with which to finance the charitable enterprises of the community she founded. She would not, however, have had to depend on whatever income such efforts produced to underwrite her charitable activities. Because Antonia Pulci had borne no children, the dowry remained intact that her family would have paid Bernardo Pulci upon her bearing a child (a payment that would have relieved the couple's early penury).

Augustine of the Congregation of Lombardy the next day] in keeping with her will, notarized by Ser Giovanni di Domenico di Bartolommeo da Tizzano .... Notwithstanding the death of the founder, forty other women took the habit of the Augustinian Ammantellate. [Translation mine]30 30 IIFrancesco T anini CittadinoFlOrentinoebbeperMoglle Dona lacotia da Roma, dalla qualenacqueun FigllomasciopernomeNiccolo, che ancor vive, ed ebbeselFiglioleJemmine,dellequali neJuronomaritatetre In Fitmze, ed una In Pisa con Persow dl egualeconditione Una dl questetre Sl chiamoAntonia, la qualeJu mogliedl Bernardode' Pulei GentduomoFlOrentine,con CUI visse in sommapace annl 17, dopo che I quaIl Bernardopasso ad altra vita E bencheNlccolo Tanlnl suoJratt'llola persuadessea contrarrelei Ie seconde nozze.

1465), and Lucrezia (b. 1466). His illegitimate offspring were Ciulio (b. 1429), who was sired before Francesco's marriage to Iacopa, and Lizabetta, who was born out of wedlock (1464). This fruitful sequence in the same year as Cornelia was terminated in 1467 by Francesco's death. The family's circumstances clearly permitted Antonia to receive a careful literary and religious education. judgmg from the texts of her 10. Flarruni says "Che la moglie di Bernardofosse dei Taruni e un errore entrato non so come nella storia letteraria, e restatovi poi a lungo [That the wife of Bernardowas of the house of Tanini ISan error that has crept, I don't know how, Into literary history and then remained there for a long time] (238) The real error, however, was one that Flamini helped perpetuate.

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