The long and rich literary tradition of a misogyny has canonised over the centuries clichés, images and rhetorical repertoires that werw repeated insistently in poetic productions, reaching their peak in the 11th and 12th centuries under the impetus of monastic and ecclesiastical reforms. An initial, superficial reading of the poem by Marbodo of Rennes dedicated to the jealous woman (Ad amicam zelantem) could lead us to glimpse the usual tirade against women, genus astutum and fraudulent, perhaps influenced by the example of the more famous De muliere mala contained in the Liber decem capitulorum. However, the interpretation that is proposed here moves in the opposite direction, assuming a transposition of the antifeminist literature in parodic terms, a thesis that rests on the analysis of lexical choices ranging from the comic to the elegiac and and on the overturning of the lover’s stereotype, which is replaced by an amator prostrate and disheartened by the woman’s nagging attentions and her intrigues. The result is a lively and spirited realistic portrayal, far removed from the rampant moralism of the time.
La lunga e ricca tradizione letteraria di impronta misogina ha canonizzato lungo i secoli luoghi comuni, immagini, repertori retorici che si sono ripetuti insistentemente nelle produzioni poetiche, fino a raggiungere l’apice nei secoli XI e XII dietro la spinta di riforme monastiche ed ecclesiastiche. Un prima, superficiale lettura del componimento di Marbodo di Rennes dedicato alla donna gelosa (Ad amicam zelantem) potrebbe indurci a intravedere la consueta tirata contro la donna, genus astutum e fraudolento, magari suggestionati dall’esempio del più famoso De muliere mala contenuto nel Liber decem capitulorum. Tuttavia, l’interpretazione che qui viene proposta si muove in direzione opposta, ipotizzando una trasposizione in termini parodici della letteratura antifemminista, tesi che poggia sull’analisi delle scelte lessicali che spaziano dal versante comico a quello elegiaco e sul ribaltamento dello stereotipo dell’innamorato, cui subentra un amator prostrato e avvilito dalle attenzioni assillanti della donna e dai suoi intrighi. Il risultato è una rappresentazione vivace e briosa, lontano dal moralismo dilagante dell’epoca.
AD AMICAM ZELANTEM DI MARBODO DI RENNES: PARODIA O MISOGINIA? / Voce, Stefania. - In: PAN. - ISSN 2284-0478. - 11:(2022), pp. 111-122.
AD AMICAM ZELANTEM DI MARBODO DI RENNES: PARODIA O MISOGINIA?
STEFANIA VOCE
Writing – Original Draft Preparation
2022-01-01
Abstract
The long and rich literary tradition of a misogyny has canonised over the centuries clichés, images and rhetorical repertoires that werw repeated insistently in poetic productions, reaching their peak in the 11th and 12th centuries under the impetus of monastic and ecclesiastical reforms. An initial, superficial reading of the poem by Marbodo of Rennes dedicated to the jealous woman (Ad amicam zelantem) could lead us to glimpse the usual tirade against women, genus astutum and fraudulent, perhaps influenced by the example of the more famous De muliere mala contained in the Liber decem capitulorum. However, the interpretation that is proposed here moves in the opposite direction, assuming a transposition of the antifeminist literature in parodic terms, a thesis that rests on the analysis of lexical choices ranging from the comic to the elegiac and and on the overturning of the lover’s stereotype, which is replaced by an amator prostrate and disheartened by the woman’s nagging attentions and her intrigues. The result is a lively and spirited realistic portrayal, far removed from the rampant moralism of the time.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.