By Maddalena Campiglia
Although acclaimed in her day, Campiglia (1553-95) has no longer benefited from the new wave of scholarship that has performed a lot to reinforce the visibility and recognition of contemporaries resembling Isabella Andreini, Moderata Fonte, and Veronica Franco. As this bilingual, first-ever serious variation of Flori illustrates, this overlook is decidedly unwarranted. Flori is a piece of significant literary and cultural curiosity, noteworthy specifically for the depth of its specialise in the reviews and perceptions of its girl protagonists and their beliefs of girl autonomy. Flori should be learn via these excited by the research of early glossy literature and drama, women's reports, and the learn of gender and sexuality during this period.
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Additional info for Flori, a Pastoral Drama: A Bilingual Edition
From act 2, another minor love story develops between the emotionally fickle shepherd Serrano and a rather vain 15 16 Vo l u m e E d i t o r s ’ I n t r o d u c t i o n and naïve nymph, Urania; this, however, does not prevent Serrano from attempting to pursue a doomed courtship of Flori, in which he guiltily indulges despite his affection for his love-rival and adoptive brother, Androgeo. The beginning of act 3 introduces us to the last, more comic-style subplot of the young shepherd, Leggiadro, who has left his home and his rich elderly father, Tirsi, to seek out the lovely Gelinda, Serrano’s sister, disguising himself as a servant in order to gain access to her house.
23. Vo l u m e E d i t o r s ’ I n t r o d u c t i o n ularly of Neoplatonic thought on love. Even more provocatively, she challenges the institution of marriage, asserting the benefits of the single life as a woman. Unlike various earlier pastoral plays (such as Agostino Beccari’s Sacrificio, first printed 1555), where the sacrifice appears as little more than a decorative frame, justifying sung, danced, and magical interludes, the religious values of the sacrifice permeate Flori at a deeper level, affecting the dramatic structure, characterization, imagery, and linguistic style.
1, p. 3, p. 269). Licori’s attachment to the cult of virginity, however, cedes to her nascent love for Androgeo, and she becomes the spokeswoman within the play for the conventional ideal of a youthful attraction leading seamlessly to the joys of marriage and motherhood. Flori, too, seems destined for this path when, following her original, “deviant” passion for Amaranta, she is smitten at the sacrifice with a love for the eligible stranger-shepherd Alessi. 1). 2), binding himself to his new beloved in a union that fully realizes, in its novelty and strangeness, the initial prophecy of the god of Love that he will create in Flori and Alessi “a pair of lovers such as the world has never seen” (prologue, p.