La formazione della figura della donna guerriera rinascimentale

119 Pages·1995·4.29 MB·Italian

by  Dawn E. A. Regan

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«
LA FORMAZIONE DELLA FIGURA DELLA
DONNA GUERRIERA RINASCIMENTALE
by
Dawn E. A. Regan
Department of Italian
McGill University, Montreal, Canada
March 1995
A Thesis submitted to thè Faculty of Graduate Studies and Research in partial fulfillment
of thè requirements of thè degree of Master of Arts.
All rights reserved for all countries
Dawn E.A. Regan
1995
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McGill University
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ABSTRACT
Although thè figure of thè v/arrior woman has always existed as a literary topos,
thè popularity of thè warrior woman figure has never been greater than in thè period of
thè Italian Renaissance. The character of thè female warrior in thè 14th and 15th
centuries in Italy results from many literary traditions ranging from thè Amazons of
classical and medieval times, to thè many versions of thè Aeneid to thè character of
Aigiame in thè Milione of Marco Polo. In addition, other examples exist of female
characters who demonstrate their fighting capabilities who, without necessarily being
considered warrior women, have helped nonetheless to shape thè character of thè warrior
woman in thè Italian Renaissance. The main objective of this thesis is to document thè
formation of thè warrior woman figure in Italian Cavalier Romance poems dating from
I' I 1
thè late 1300’s to thè early 1400’s before thè great poems of Pulci and Boiardo.
■i
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RÉSUMÉ
Il a eté bien établi que le motif de la femme guerrière ait ’ioujours existé dans le
domaine de la littérature, néanmoins la femme guerrière n’a jamais connu autant de
popularité que dans la periode de la Renaissance italienne. Le personnage de la femme
guerrière durant les 14ième et 15ième siècles fut le résultat de plusieurs traditions
littéraires qui s’étendent des Amazones des temps classiques et médiévaux, aux diverscs
versions de l’Enéide et jusqu’au personnage de Aigiame dans le Milione de Marco Polo.
On retrouve aussi d’autres personnages de sexe féminin ayant combattu et qui, bien que
n’ayant pas été considérés eux-mème comme femmes guerrières, ont contribué à la
création du personnage topique de la Renaissance. L’objectif principal de cette thèse est
de documenter la création de ce personnage, la femme guerrière, dans les poèmes de
j
Chevalerie Italiens qui datent de la fin du 14ième jusqu’au début du 15ième siècle et ce
avant les grands poèmes de Pulci et de Boiardo.
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SUNTO
Anche se il topos della donna guerriera è sempre esistito nella letteratura, la
popolarità della figura della donna guerriera non è mai stata tanto diffusa quanto nel
periodo del Rinascimento italiano. La figura della donna guerriera nel Trecento e nel
Quattrocentro in Italia è il risultato di una serie di tradizioni letterarie che vai.no dalla
tradizione classica e medievale delle Amazzoni alle varie versioni de\V Eneide alla figura
di Aigiame nel Milione di Marco Polo. Esistono inoltre altri esempi di figure che
combattono che, senza essere necessariamente considerate donne guerriere, hanno
contribuito nondimeno a formare la figura della donna guerriera del Rinascimento
italiano. Lo scopo principale di questa tesi è di documentare la formazione del topos
della donna guerriera nei poemi cavallereschi italiani databili dal tardo Trecento al primo
Quattrocento, prima dei grandi poemi del Pulci e del Boiardo.
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1
INTRODUZIONE
A partire della seconda metà del Trecento in Italia comincia a prender forma un
nuovo motivo letterario, "costituito da eroine che o per vocazione propria o in virtù di
un travestimento maschile compiono gesta guerresche."1 Il motivo della donna
combattente ha percorso la letteratura classica e medievale, ma la popolarità di questa
figura non è mai stata così forte come nel Rinascimento.
Agli inizi del periodo rinascimentale né il ruolo, né la caratterizzazione della
figura sono ben definiti. Il ruolo della donna guerriera a questo punto è occasionale e
accidentale nella letteratura narrativa. Man mano che la letteratura cavalleresca italiana
si sviluppa però si cominciano ad individuare caratteristiche comuni fra le varie figure
femminili combattenti. Fra queste varie caratteristiche comuni alla figura della donna
guerriera notiamo che la donna guerriera continua ad essere una minaccia per l’uomo.
In effetti, il fatto di essere una donna guerriera minaccia l’ordine sociale costituito poiché
indica un capovolgimento di ruoli fra uomo e donna. Quindi, quando la figura della
donna guerriera comincia ad avere maggior rilievo nella narrativa, gli autori
escogiteranno varie soluzioni per esorcizzare questa minaccia. Il risultato comune delle
diverse soluzioni sarà quello di rendere la figura della donna guerriera innocua: essa
1 M.L. Bendinelli Predelli, "La donna guerriera nell'immaginario italiano
del Medievo," AAIS Annual Conference, Austin (Texas), 17 Aprii 1993. p. 12.
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finirà sempre sottomessa all’uomo o per via di matrimonio o per via di combattimento
o per via di morte, o quanto meno, mettendo in risalto la vergogna che costituisce per
un cavaliere il combattere con una donna.
La figura della donna combattente nel Trecento e nel Quattrocento italiano è il
punto di arrivo di una serie di tradizioni letterarie, comprese quella delle Amazzoni della
tradizone classica e medievale, le varie versioni della Camilla virgiliana, e la figura
guerriera di Aigiame nel Milione di Marco Polo. Inoltre, ci sono altri personaggi
femminili che eseguono imprese guerresche, che però non sono donne guerriere, ma
semplicemente donne che eseguono queste imprese per un periodo di tempo determinato.
Per capire la formazione e la consistenza della figura della donna guerriera, si
devono naturalmente cercare i modelli da cui la figura è stata ispirata. Prima di
indagare i poemi cavallereschi in cui appare la donna guerriera, però mi sembra
oppportuno rintracciare la figura dell’Amazzone, perché questa è una delle componenti
fondamentali della figura della donna guerriera rinascimentale. La dichiarazione non
deve meravigliare se si pensa che la leggenda delle Amazzoni si era diffusa dalla
letteratura classica a quella del Medioevo ed era quindi nota ai letterati del Rinascimento.
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