contents proof · the allegoria mitologica (1332–34) of naples: boccaccio’s personalized ovid...
TRANSCRIPT
contents
Illustrations viiTables xiAcknowledgments xiiiAbbreviations and Citation Editions xixChronology of Medieval Mythographers and Commentary Authors xxv
Introduction 1
Chapter One. Toward a Subjective Mythography: Allegorical Figurae and Authorial Self-Projection 17
Chapter Two. Dante’s Self-Mythography: The Inverted Ovid “Commentary” of the Commedia (1321) and Its Family Glosses 39
I. A Preface to Dante: His Sons’ Glosses and His Medieval Commen-tary Authors (Inferno, Cantos 1–4) 47
II. Ovidian Inglossation (Inferno, Cantos 3–27) 71 III. Pilgrim Dante Metamorphosed (Inferno, Cantos 28–34) 90
Chapter Three. “Iohannes de Certaldo”: Self-Validation in Boccaccio’s “Genealogies of the Gods” (ca. 1350–75) 126
I. The Allegoria Mitologica (1332–34) of Naples: Boccaccio’s Personalized Ovid 138
II. The Genealogie Deorum Gentilium: Boccaccio’s Quest for Authority in Epic Mythography 144
III. At Certaldo: Boccaccio’s Unfinished Commentary on Dante (1373–74) 196
Chapter Four. Franco-Italian Christine de Pizan’s Epistre Othea (1399–1401): A Feminized Commentary on Ovid 206
I. Christine de Pizan Anti-Rose: Évrart de Conty and Finding a Female Voice 212
II. Righting the Rose: The Othea’s Moralized and Christianized Ovid 244
III. Othea, Minerva, and Other Mythological Women: Humanizing Ovid 258
PROOF
vi contents
Chapter Five. Christine de Pizan’s Illuminated Women in the Cité des Dames (1405) 272
I. From Othea and Proba to “Je, Cristine,” Une Clere Femme 281 II. Reading Boccaccio: Learned Women, Sibyls, and
“Women Made Famous by Coincidence” 299 III. Arms and the Woman: Honorat Bovet, Jean de Meun, and
Minerva in Le Livre des Fais d’Armes et de Chevalerie (1410) 352
Chapter Six. Coluccio Salutati’s Hercules as Vir Perfectus: Justifying Seneca’s Hercules Furens in De Laboribus Herculis (1378?–1405) 363
I. Reading Senecan Tragedies: The Origins of Salutati’s De Laboribus Herculis 371
II. Aeneas’s Failed Descent into Virgil’s Underworld: The Pythagorean Y 374
III. The Influential Boethian Descents: Hercules versus Orpheus, Ulysses, and Amphiaraus 382
Chapter Seven. Cristoforo Landino’s “Judgment of Aeneas” in the Disputationes Camaldulenses (1475) 396
I. Petrarch’s Neoplatonic Aeneas, Vir Perfectus 398 II. Landino’s Medievalized Aeneas and the Three Goddesses 405
Conclusion 420
Notes 425Bibliography 539Index 613 PROOF