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By Antonia Pulci

A proficient 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 lady audiences, Pulci's performs concentration heavily at the matters of ladies. Exploring the alternative that Renaissance girls had among marriage, the convent, or uncloistered spiritual lifestyles, Pulci's girl characters don't basically glorify the spiritual lifestyles on the price of the secular. quite, those girls examine and take care of the undesirable advances of guys, negligent and abusive husbands and suitors, the hazards of childbearing, and the disappointments of kid rearing. They deal with families and kingdoms effectively. Pulci's heroines are considerate; their ability for research and motion frequently 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 significant woman Italian poet and playwright.

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Additional resources for Florentine drama for convent and festival : seven sacred plays

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Di S Agostino della CongregatlOnedl Lombardia la devota Antonia ['Ab,to dl S Agostino per Ie manl di Frate AntoniO DulClatl F,orentino Priore del Conventoperservirea Dro nell'osservanta dl quell' Istltuto, e colla sua dote avendo compratauna casa da DomenicoAlamanntJuon dellamedeslmaPorta a S Gallo. quasIdlrimpettoal Monasterodl Lapo nel Borqo di S Marco. In sullaVla,checonducea Flesole,In essacasa SI racchluseAntonia con alcune Donne ,[ di 26 /I 19 2a Antonia Puleiand HerPlays One is hard-pressed to know what word besides "founder" to apply to Pulci's role within the order she established.

You know, indeed, I have no one but you, And so I am resolved to set you free. (St. Francis, lines 153-58) As will appear below, St. Theodora and Rosana are less securely attributable to Antonia Pulci than are the other plays. Yet among the arguments that suggest they are very likely hers IS the appearance in them of precisely the sorts of womanly concerns that occupied Puler's attention in the plays of certain attribution. In the first part of Rosana, particularly, Queen Rosana's distress at her childlessness, though not an uncommon literary issue and certainly a frequent concern for women, nevertheless parallels Pulci's personal situation.

In sullaVla,checonducea Flesole,In essacasa SI racchluseAntonia con alcune Donne ,[ di 26 /I 19 2a Antonia Puleiand HerPlays One is hard-pressed to know what word besides "founder" to apply to Pulci's role within the order she established. Her dictation and frequent (three) revisions of her will during the period between the founding of the order and t~o weeks before her death suggests that she may have been a sick woman when she finally decided to seek official status for her order. If that is so, it lessens the probability that she would have been named prioress, for it seems unlikely that someone ill would have been entrusted with administrative responsibility.

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