By Moderata (Modesta Pozzo) Fonte, Visit Amazon's Virginia Cox Page, search results, Learn about Author Central, Virginia Cox,
Moderata Fonte used to be the pseudonym of Modesta Pozzo (1555–92), a Venetian lady who used to be whatever of an anomaly. Neither cloistered in a convent nor as liberated from triumphing codes of decorum as a courtesan will be, Pozzo used to be a decent, married mom who produced literature in genres that have been quite often thought of "masculine"—the chivalric romance and the literary discussion. This paintings takes the shape of the latter, with Fonte making a dialog between seven Venetian noblewomen. The discussion explores approximately each element of women's adventure in either theoretical and useful phrases. those ladies, who vary in age and adventure, take as their large topic men's curious hostility towards ladies and attainable remedies for it.
Through this witty and impressive paintings, Fonte seeks to raise women's prestige to that of guys, arguing that ladies have a similar innate skills as males and, while equally informed, turn out their equals. via this discussion, Fonte offers an image of the personal and public lives of Renaissance ladies, ruminating on their roles in the house, in society, and within the arts.
A high quality instance of Renaissance vernacular literature, this booklet is additionally a testomony to the iconic matters that girls face, together with the try and reconcile femininity with ambition.
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Additional resources for The worth of women : wherein is clearly revealed their nobility and their superiority to men
Some critics have considered this passage a palinode, inserted to neutralize the subversive charge of Leonora's earlier 27. Cox 1992, 65-69. 28. See further on this point Smarr 1995, esp. 22. i9 2o Moderate* Fonte and "The Worth oj Women" diatribes against marriage. This seems an inappropriately heavy-handed reading, however, especially when Fonte's procedure is compared with that of other writers of the period. W h e r e sixteenth-century dialogues intend a palinode, they tend to leave the reader in little doubt of the fact: "wrongheaded" positions, when they are given an airing, tend to be clearly labelled as such and to be followed by an extensive refutation which sets the record straight.
8 The moral of the story is driven home in a spirited passage of feminist polemic, which is important as Fonte's first overt public pronouncement on the question of the status of women (see Appendix). 5. Goldioni (Doglioni) 1603, 187. 6. Fonte 1995, 161 (canto 10, 37-38). 7. , 158 (canto 10, 22-23). 8. , 30 (canto 2, 30-32); see also Valeria Finucci's discussion of the episode in her introduction, 27-34. 5 6 Moderata Fonte and "The Worth oj Women" Risamante's prowess at arms should not be wondered at, Fonte remarks,rather, it is proof that women have the same innate abilities as men, and, if educated similarly, would prove their equals in the fields of both letters and arms.
She is, however, unusual, if not unique, in the insistence and conviction with which she makes these connections. 21. See especially the important passage at the end of the First Day, p. 116, where the feminist speakers in the dialogue discuss the possibility of a male backlash against their arguments. Moderate* Fonte and "The Worth of Women" Thus we learn in the dialogue not only of women's exclusion from education (a frequent complaint among humanist "defenders of women") and of the various sufferings visited by husbands on their wives (a common theme among at least the more enlightened writers on marriage), but also of less frequently addressed abuses, from the number of women left without dowries as a result of male relatives' thoughtlessness or greed (p.