vittoria colonna sonnets for michelangelo

St Dionysius, St Francis of Assisi to Noah (Old Testament) on To male Christian martyrs and saints: St Stephen, St Ignatius, To the apostles, disciples and New Testament characters: Peter, To Various Figures Includes poetry to St Catherine ofĪlexandria and St Ursula to the Archangel Michael to Pole, Bernardino Rota, Jacopo Sannazaro, Luigi Tansillo, Antonio Maria Molza, Bernardo Ochino, Paul III (Alessandro Farnese), Reginald Gian Matteo Giberti, Paolo Giovio, Giovanni Guidiccioni, Francesco Nun at Viterbo, perhaps Innocenza Gualterruzzi), Veronica Gambara,

(perhaps Constanza d'Avalos Piccolomini, Duchess of Amalfi, perhaps a Gasparo Contarini, an unknown 'faithful woman' To Friends and Occasional Includes poetry to, on and in response to LudovicoĪriosto, Pietro Bembo, Michelangelo Buonarroti, Francescoīerni, Charles V, Clement VII (Giulio de' Medici), Her adopted son) to Ascanio Colonna (her brother), Giovannaĭ'Aragona Colonna (Ascanio's wife and her sister-in-law and friend),Īnd on the birth of their son, Fabrizio (her nephew) toįrederigo Fregoso (her cousin and close friend) (Feb.Amaro Lagrimar: The Sonnets of Vittoria ColonnaĪmaro Lagrimar The Poems of Vittoria Colonna Newly Translated and Arranged by Ellen Moodyįamily Includes poetry to Fabrizio Colonna (her father) andĪgnesina Montefeltro Colonna (her mother) to PompeoĪlfonso d'Avalos, Marchese del Vasto (Pescara's cousin and his and Targoff’s well-researched, thoughtful biography reveals Colonna as a complex woman who turned grief and a spiritual quest into a renowned literary reputation. Colonna also became part of the failed Catholic reformation movement as a result, the Vatican compiled Inquisition documents listing her “heretical beliefs.” The unpublished documents and other contemporary sources Targoff presents, along with lines from the sonnets, illuminate Colonna’s reformist tendencies. Like her poetry, Colonna’s life centered on both the secular and the sacred her friendship with Michelangelo and occasional political involvement contrasted with her frequent convent stays. Targoff provides several helpful translations of Colonna’s poems, accompanied by clear explications of her struggles with mourning and spirituality, which her letters also documented. But her romantic paeans to her late husband and religious sonnets encouraged other women to publish and inspired established male poets to ask for her elegant literary critiques of their work. Humble despite her family’s high stature, Colonna was shocked when her literary work was published. Targoff ( Common Prayer), professor of English and cochair of Italian studies at Brandeis University, paints Vittoria Colonna (1492–1547) as an embodiment of the Italian Renaissance in this enjoyable narrative, noting Colonna’s intense religiosity and role as the first published female Italian poet.

Vittoria colonna sonnets for michelangelo