Love Enamored and Driven Mad

Janet E. Gomez received her PhD in Italian from Johns Hopkins University. Most recently, she was assistant editor of Literary Forgery in Early Modern Europe, 1450–1800 (2018). In 2015, she was co-curator of “Fakes, Lies, and Forgeries,” a rare book exhibition at the George Peabody Library, Johns Hopkins University, and published an article in its catalog titled “Scandal! Literary Fakes as Bestsellers.”Maria Galli Stampino is professor in the Department of Modern Languages and Literatures at the University of Miami. She is the author of Staging the Pastoral: Tasso’s Aminta and the Emergence of Modern Western Theater (2005). For The Other Voice series she edited and translated Marinella’s Enrico; or, Byzantium Conquered (2009), and with Julie Campbell, she co-edited In Dialogue with the Other Voice in Sixteenth-Century Italy (2011). With Anne J. Cruz, she co-edited Early Modern Habsburg Women (2013).

• Acknowledgments xviiIntroduction 1The Other Voice 1Marinella’s Life and Works 2Works, 1595–1605 4Works, 1617–1648 7Historical Context 9Ovid: Metamorphoseon libri (Metamorphoses) 10Prudentius: Psychomachia (Battle of the Soul) 11Dante: Divina commedia (Divine Comedy) 13Boccaccio: Genealogia deorum gentilium (Genealogy of the Pagan Gods) 14Tasso: Gerusalemme liberata (Jerusalem Delivered) 15Summary and Analysis 18Apuleius: The Source Text 21Marinella’s Amore innamorato et impazzato (Love Enamored andDriven Mad) 27Petrarchan Beauty in a New Context 37Marinella’s Poetics 41Marinella as an Observer of Her World and Society 44Afterlife 45Note on the Translation 47Love Enamored and Driven Mad 49Preliminary Texts 50Dedicatory Letter 50Allegory of the Poem 51Permission 56To the Reader 57Canto 1 59Canto 2 75Canto 3 89Canto 4 101Canto 5 115Canto 6 129Canto 7 139Canto 8 153Canto 9 167Canto 10 181Bibliography 199Index 205

This accurate and readable translation constitutes an exciting contribution to our understanding of Lucrezia Marinella’s work as a whole, situating Amore innamorato within the context of the author’s artistic trajectory. It indeed helps us, as Gomez and Stampino state in their introduction, to avoid the trap of privileging the better-known of Marinella’s literary works.—Laura BenedettiLaura and Gaetano De Sole Professor of Contemporary Italian CultureDepartment of Italian, Georgetown University