La Mirtilla: Shaping a New Role for Women

In a time when women who were performing in the commedia dell’arte were demonized and accused of immorality, the life and example of actress and playwright Isabella Andreini showed that it was possible for an actress to be a pious and virtuous woman, a firm believer in the sanctity of the marital bond, and the mother of seven children raised according to the Christian values of her time. Andreini was not only extremely talented in the performing arts, but clever, learned, eloquent and literarily accomplished.¹ The combination of these talents and achievements made her a compelling advocate in the defense of the female character, as she chose to use the medium of pastoral drama—which her male contemporaries used to display denigrating female stereotypes—to introduce her audiences to a new kind of woman.

Andreini’s pastoral, La Mirtilla,² focuses on the intelligence, determination, feelings and morality of its female characters in a way never before explored by male writers. Though La Mirtilla follows the pastoral drama of Tasso’s Aminta in structure and plot, Andreini’s conception of women is entirely in contrast to the misogynist depictions in traditional Renaissance plays such as Tasso’s.³ Andreini introduces women who challenge the centuries-long image of women as figures of Eve; that is, as debauched temptresses, the symbol of humankind’s misfortunes, as foolish, weak, corrupt, and immoral. Moreover, though La Mirtilla celebrates love, marriage and friendship in a way consistent with the prevailing Christian principles, there is a proto-feminist element in its portrait of women who play strong and important roles in social and political life. Her female characters, Filli, Mirtilla, and Ardelia, follow the decorum of the time, but they are not the submissive wives or daughters of the sixteenth century.⁴ They are endowed with intelligence and cleverness and they are able to make their own choices; in love, they are driven not only by desire and passion but also by rationality, showing that the female intellect is strong enough that women can be trusted to control their own lives.

Andreini’s pastoral aims to emphasize the idea that being in love is a matter of self-will, and that when love is mutually experienced, it leads to happy marriages. Coridone, who loves and is loved by Nisa, points out the joys of a loving relation:

Thus, so sweet and dearis this heaven-given companionship,and so sweet is marital passion,that it sustains them together.

(IV.2.2221–24)

Therefore there is no happiness in the worldgreater than that of two loving heartswhom marital love ties and unites.

(IV. 2. 2351–53)⁶

And again, to convince the reluctant Tirsi to embrace love and find a wife, Coridone praises the delight and rewards of a mutually-trusting relationship where even the bitter moments turn pleasurable:

but the pains of love are so sweetthat even while tormenting, they offer comfort,and a little sweetness appears much bitterness.

(IV.2.2094-96)⁷

……………………………………….….happiness there is in loving a nymph that loves you.

(IV.2.2253)⁸

………………………………………….…… this delight,this great sweetness, this joythat lovers experience, when withoutsuspicion and jealousythey love each other.

(IV.2.2297–301)⁹

Through Coridone, Andreini shows her enthusiasm for marriages based on an exchange of love, trust, respect and complementarity that enriches the life of both lovers.

Andreini’s play bears witness to the success of her own marriage. She and her husband Francesco based their relationship on the same principles of love, trust and respect that underpin the morals of La Mirtilla.¹⁰ The pair raised their large family together while playing the role of an enamored couple on stage for many years (L’Innamorata e Capitan Spavento). Francesco and Isabella were united by profound love for their entire lifetime, and maintained their ardor until her death parted them.¹¹ This is notable, because during Andreini’s time, marriage was not primarily about love. Even simple affection was not considered essential. It was almost inconceivable that people would choose their marital partners on...