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44 In Ovid's version (as in the versions by Castiglione and Nashe) frustrated women fragment Orpheus; but in Boccaccio's version this role is assumed by authoritative critics and writers. In either case, Orpheus's eventual transfiguration into a kind of immortal singing head gestures at once to his fragmentation by more powerful forces and to the ultimate triumph of his poetry over the violent forces that would silence it. The figure of Orpheus, then, emblematizes the dilemma that Boccaccio faces in this prologuethe problem of how to provide erotic narratives to the desired and desiring audience (in this case female), without awakening censorious repercussions from patriarchal literary authorities.
While these problems undermine any consistent and unproblematic celebration of fantasy, femininity, and effeminacy, the marginal status of these authors within their aristocratic courts does enable them to distance themselves from the patriarchal conventions that they inherit. It is this distance that allows them to create a conceptual space within which the feminine and the effeminate may have aesthetic significance of their own. " The concomitant identification of the male narrator or protagonist with effeminacy opens up a field of inquiry about the nature of gender identity that is never fully absorbed into traditional hierarchies of male authority and female subordination.
While scholars of Renaissance literature have focused on ways in which female writers have exploited this strategy, few have discussed why aspiring male authors would present themselves in the same way. 4 Not surprisingly, their writings often celebrate other attributes associated with "feminine" writing, most notably deceit, seduction, and unruliness. 6 By locating themselves on the margins of patriarchy, these authors appeal to a group of readers which, while increasingly significant, remains largely disempowered within patriarchal culture.