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Modern readers will be surprised by Ribeiro’s complex treatment of love and longing in Maiden and Modest (1554), because his narrative of suffering and unhappy love is told from the perspective of female protagonists. Indeed, a strikingly feminist note infuses the entire narrative, which also contains both autobiographical aspects and traces of the Cabala and Zohar. A self-conscious narrative that explores issues of gender, identity, and sexuality, Maiden and Modest makes a significant contribution to the development of the European novel. This is an essential book for readers of sixteenth-century literature and scholars of European fiction, sixteenth-century European studies, Renaissance studies, comparative literature, Jewish studies, women’s studies, and feminist fiction.
- Sales Rank: #3651078 in Books
- Brand: Brand: Tagus
- Published on: 2012-05-08
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .70" w x 6.00" l, .70 pounds
- Binding: Hardcover
- 122 pages
- Used Book in Good Condition
Review
“Bernardim Ribeiro’s psychological novel, a sequence of embedded tales told by a young female narrator, carries chivalric tales into a modern tradition of inner questioning and doubt in the face of the uncontrollable forces and strategies of desire. Thanks to Rabassa’s brilliant translation, Maiden and Modest can now take its place alongside Renaissance classic texts.” (K. David Jackson, professor of Portuguese, Yale University)
“In Maiden and Modest the loves and sufferings of knights and ladies come alive, in a landscape of enchanted beauty, which includes uncanny visitations from the spirit world. Ribeiro’s prose reveals the sensibilities of a poet, but with the psychological insight of a novelist, and Maiden and Modest is part of the substratum from which the modern novel would emerge. In his narratives Ribeiro was as conscious of the ambiguities of gender relationships as any of the writers who came later. He was also a master storyteller, and his tightly woven plots extract the maximum potential from the searing tragedies that unfold.” (T. F. Earle, King John II Professor of Portuguese Studies, University of Oxford)
About the Author
BERNARDIM RIBEIRO (1482?–1552?), likely a Jewish “New Christian,” was a prominent Portuguese Renaissance writer and courtier. GREGORY RABASSA is the preeminent translator from the Spanish and Portuguese.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Radical in its possibilities both then and now
By Nathaniel Carlson
If Leopardi's Zibaldone was the publishing event of this year, then this first English translation of Bernardim Ribeiro's seminal Portuguese classic in 400 years must have been the event of 2012. I finally got around to reading it and found that its deceptively simple chivalric contents belie the confounding and even bewildering effect of it all. Though capably enough described as "the first Iberian pastoral romance" that doesn't begin to capture the strangeness and remoteness of the text, a synthesis of so many genres then existing independently. It lingers in the mind in part because it's "ahead of its time" in respect to its treatment of psychology and gender and its overall metaphysical density, in some ways I think forging new terrain that does register as recognizably "modern" (the story within a story format leads to a kind of coiled rabbit hole of inescapable reflections). Also, of course, there is the inevitable sense of cultural remove in the emphasis on obscure, but highly developed notions of chivalric love; these will seem remote or foreign to many of us, especially in terms of their often directly unacknowledged but always present implications, circulating through and enriching the entire text in ineffable ways. But I also think that the literary structure and form of the book, in combination with all of the above, really does develop wholly new avenues for thought. It may bear a superficial resemblance to One Thousand and One Nights, The Decameron or The Canterbury Tales but this is a unique sui generis work all its own, breaking ground and pointing the way both for ideas and literary possibilities in the years to come.
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