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The modernity of the Furioso as a labyrinth of the human mind

On a background that is the war between Christians and Moors, take shape and the endless intricate stories of characters who move within the imaginative world map. This, like a colorful tapestry, welcomes heroes, heroines, but also love women and ordinary soldiers, who are these facts of human pasta or fairy is of minor importance: the fiction is just a ploy to in-Ludere the reader that as soon find contentment in the action of wizards, fairies and magic rings, is shown again in a more human dimension, moreover, according to Calvino, Ariosto does not make use of magical powers even when these spells. The boundary between illusion and reality is always much labile, and Ariosto is fully aware of this, therefore, takes care to keep it in mind as readers, as its poetic creatures.
Around Angelica on the run is a swirl of warriors ... Angelica, a real engine of the narrative poem, gives the initial impetus to action those warriors who are attracted (as Orlando in the first place, then Rinaldo, Sacripante) and which, starting from the first narrative center began to spread around the world, crossing their stories with those of many heroes in this way you can know the stories involving characters from all sides, from the love story of Ruggiero and Bradamante to that of Isabella and Mat, the story Rodomonte the brute, to which they relate, among other things, that the kidnapping of Doral, his bride, by Mandricardo, and that of the final duel between Rodomonte and Ruggiero. At the center of the poem there is a pitfall : this is the place where the destinies of all the characters come together to make Ariosto common experience, the castle of Atlas. There comes Ruggiero and Orlando as well as all researchers van, is a vortex of nothing, the desert of what you want. Astolfo Only later will be able to do vanish defeating its guardian Atlas, and always will come to your senses Astolfo Orlando after having recovered his senses on the Moon, another kingdom respect to the Earth. Only at that point of the poem all the nodes are dissolved, and the narrative may be coming to an end with the marriage of Ruggiero and Bradamante and the celebration of the latter as a progenitor of the Herculean race. Although characteristics with different characters, countless characters have in common the goal that moves them and landing point of receipt in an attempt to achieve their object of desire. In fact, they move like a huge game of chess: playing by the only branch simultaneous games that take place on the chessboard of the world, subject to fixed rules, just like in chess. Each character takes the field with its own history, which has often been linked with the stories of others. Retracing the history of each segment of them, it happens that some segments are shared by multiple characters, and if each segment gives the appearance of a card deck of tarot cards, you get the achievements Calvino in "The Castle of Crossed Destinies ". Inside the castle the night shelter has surprised many in the middle of the forest in which it is located. Unable to speak, tell their stories using a number of cards in the tarot deck and at the end of the stories, they are arranged to form a complete puzzle of figures that can tell a story from anywhere they are read. Just as Ariosto, Calvin also makes use of his art poet to rise to juggler and magician (as he calls himself) who creates his own fantasy with stories of men who end up having something in common.
addition to common features of walking, the Ariosto characters follow the same mental labyrinth, that in the macrocosm of the poem is the same maze in which they place their deeds. The Furious can be considered as the magnification of the dynamics, often conflicting, that seat is in the human, humans of all time. With this in mind each character is nothing but the realization of every aspect of human thought as the warriors of "pasta fairy" is a presumption of immortality, the unique fame of glory; Angelica is what you go looking, Orlando is the sense of defeat that leads to madness and the Castle of Atlas illusion; Medoro hydrochloride and the idea of \u200b\u200bfriendship that prevails every interest Ruggiero the knowledge that, after all, in any way we can subtract to real life. These conflicting pressures are necessarily intertwined from the moment when man begins to live. Ariosto's modernity lies in including the man of his time (which is also the modern one) and have created a work that might reveal his every appearance with a unique style and imagination.

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Free thoughts on the themes and narrative potential

1)
Of structure The structure of the Orlando Furioso is non-existent. If non-existent structure is meant a stable pattern and made a solid volume and property.
You can argue, of course, that belongs to the Furioso the amazing distinction of being a poem in itself and can be read independently from his previous knighthood, and that therefore the work of Ariosto is considered structurally independent. This is also an aspect that he first be emphasized by Calvin in his commentary on the poem (as if to excuse the long preamble about the presentation), and it is certainly true. But in following the guidelines of Calvin one can not but note that the line is another characteristic that is identified by him: it is the movement.
Movement "errant", zigzag, broken and twisted that marks not only the movement of the characters of the poem al''interno with their meetings, fights and separations, but also the evolution of el'involversi songs themselves.
The story in this way can also be expanded from within, as demonstrated by the addition carried out between the editions of Ariosto Furioso of 1521 and 1532 which brought the number of songs from 40 to 46, and the structure, if structure we want to talk, therefore remains open: Are there, yes, three key thematic pillars (The insane love of Orlando for Angelica, the story of Bradamante and Ruggiero and the background of war between Charlemagne and Agramante), but those around you that envelops a number of events and episodes that the three pillars do not seem to rise parallel strong, but sometimes touching and intertwining and sometimes diverge from each other. A
construction, this, far from previous literary solid buildings, such as the Divine Comedy, but typically not defined and circumscribed.

2) Del Castello
The combination of the Orlando Furioso and the Castle of Crossed Destinies is from the first encounter with the texts of Calvin, because of common environment and the wealth of images of castles, knights, ladies and gentlemen to draw on both authors.
The process of rapprochement between the two narratives seem to reach completion when Calvin inserted between the characters arrived at his castle the same and the paladin Orlando Astolfo, but there are still many similarities identified in the two books. First of all is the plot of the vicissitudes of the characters, in which Calvin is also represented in the chart to have tarot cards on the table, and the reduction of the protagonists to stereotypes of themselves to focus instead on the narrative.
element that seems at first sight, however, is not comparable to the question of space. How to compare, In fact, the particular building Calvino, whose patrons gather everyone around a table, with the boundless geography Ariosto, the scene of wondrous and intricate travel routes?
Consider, however, the castle-tavern of Calvin alone in his archetypal narrative framework, the applicant's home country model of the Decameron to the cemetery on the hill of Spoon River anthology, and it is noted that there are no characterizations Furious space-time realistic and absolute, but the spaces seem to fit around people, the true center of the narrative. You will come to the conclusion that in this way, the magnificent landscape Ariosto is little more than a frame, is a rich backdrop whose task is to bring out human events on the first floor.
After all, the "map of the world that unfolds all at one time under the eye of the reader" (Orlando Furioso told by Italo Calvino, commentary on the song X) is not dissimilar to the unfolding of tarot cards on the table of the castle.

3) of modernity
The Orlando Furioso could not be considered an important expression of modernity. Quite apart from the literary developments that followed, the Three Musketeers by Dumas and Don Quixote by Cervantes, and ignoring for a moment the attention of Ariosto to the point of view of the reader and his tastes, characteristics resemble those the modern writer. Omitting these elements and therefore all the superfluous, what remains?
Archetypes. Archetypes
maybe a little different, but so large as to encompass, if skillfully combined, all possibilities of the human. Men
more or less talented, bold, aggressive or loyal, brave women, independent or submissive love, good-natured or malicious external intervention: that is enough to give rise to endless combinations and subsequent stories by the apparent originality.
Ariosto's why the stories seem so modern and so similar to those arising from the tarot cards: they allow a sudden empathy, an almost automatic transposition of values \u200b\u200bin our contemporary who dress in period costumes.
Ariosto's merit lies in having grasped the broader archetype, the man who pursues his vain desires.
And perhaps for this reason, or perhaps playful irony of fate, the story has become the archetype of archetypes of the stories.

Elisa Sotgiu

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Furioso Orlando Furioso by Ariosto to Calvin.

The Orlando Furioso by Ludovico Ariosto told by Italo Calvino, is emerging as an extraordinarily important guide produced by a writer who embodies the ideal compositional nature of modernity, but it bears at the same time a literary technique remarkably similar to the "Ariostesca", which was created and developed targeted by an interest in respect of the figure and personality of Ariosto and his typical style characters, the theme clear to the mysterious and disillusioned and ironic. Calvin runs through the multiple "strands" of Ariosto's famous poem, selecting themes and explicit to the reader through careful exegetical portions literary devices more attractive, building up a harmonious style and decided on the themes and plots which are clarified in a structure that organizes and decomposes the narrative story in chapters that do not necessarily correspond to the subdivision theme used by Ariosto. In this way, the author traces the story of Orlando Furioso, refers to a work open in the sense that, as claimed by Italo Calvino, is without beginning or end, almost refused to initiate and terminate in a world in which it is permissible to find new twists and dynamic and in which, however, the events do not allow themselves to enclose in time and space in a well defined, but they move between multiple centers narrative without following a consistent and coherent plot. The first characteristic of Orlando Furioso ultimately resides in the imposing plot, in which you enter complex characters which are characterized by passion and driven by conflicting feelings of love and the cult of beauty in its most formal ideal. Moreover all the characters are driven by a continuous and constant research or "these", together with the reason of the adventure, which connects one part in the interpretation of Ariosto's poem to the epic-chivalric tradition before, but on the other projects it towards modernity . In respect of its own 'action composition of the Furioso, Calvin takes a careful and meticulous criticism of the text by creating a work of fact within the work and highlights the processes which underpin the original composition of the Orlando Furioso, although Calvino shows many aspects to remain faithful to the text, for others, introduces changes intended to make the work more accessible and understandable by the presence of personal opinions that do not fail to highlight the correlations that develop within the story. "The way you configure Orlano Furious," according to the famous definition of Calvino, "like a huge chess game that is played on the world map, a huge game that branches in many simultaneous games. The world map is much larger of a chessboard, but on it the moves of each character as you follow fixed rules for how the chess pieces. "Similarly, we understand how the intersection of stories and sequencing of typical images of Orlando Furioso, have inspired Calvino's famous composition "The Castle of Crossed Destinies," in which similar themes and appear similar to some ideas to those of the Furioso, which are combined and then emerge through the "words" on the cards "talking". The literary reference enjoyed by Calvin, is once again the poem of Ariosto, as depictions of the Tarot represent the perspective in which he developed Ariosto's fantasy. The tarot cards themselves are also close to a purely numerical value, and above all a symbolic meaning, represented for example by indicating the dueling swords, cups at parties and then sticks the forests. In Thus, through the formation of multiple combinations of tarot cards, each character in a narrative offers dense and full of images, their adventures and misadventures, the same castle appears both as a metaphor for life and the illusions of the man who chases their dreams and is unable to distinguish fantasy from reality, and as a metaphor of human life follows a succession of random events. Ariosto's Man is already the man of our modernity, thanks to its autonomy without reference points and the prey of his desires and causality of events. Modernity in the poem goes beyond the Renaissance, Ariosto shows the paths of man Again, conscious of the fact that this man of freedom, reason and moral responsibility to exceed the limits of the present. The Furious is to be read as a poem in the end of modernity and above all as a poem of the Renaissance.


Matthew Sini IID

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Calvin and the comparison with the modernity of Furious

"The Furious book is unique and can be read without reference to any other previous or next book, is a world unto itself where you can travel a long and wide, enter, leave, get lost. " So Italo Calvino, in the preface of his book told The Orlando Furioso by Italo Calvino " defines the most important work of Ludovico Ariosto: the poem speaks of a world in which you can enter and exit at any point and find out every time a plot is new and different with each reading, the greatness of the work is, in fact, precisely in its labyrinth structure, in which you really may not be able to reconnect with the story as a whole. Precisely for this reason, Calvin decided to write his book: to gather in 310 pages, 22 chapters, the wide and Ariosto's narrative, divided into 46 songs. The intent of the writer was also to translate into a more modern language, the text of the Furioso to better understand a sixteenth-century Italian that, despite its simplicity and similarity to ours, in some parts may remain obscure if you do not have adequate knowledge of vocabulary. The operation of Calvin does not, however, becomes a normal paraphrase: he proposes the verses of Ariosto, preceded by a summary of effective and passionate prose (after all he is a great admirer of the work and its author), in so that the player is behind an advantage with a rough idea of \u200b\u200bwhat the sixteenth-century poet says. At the end of the book also is an extensive section of notes, which explain and provide synonyms for the expressions Ariosto more difficult to interpret.

Calvin does not tell the whole story: it is limited to select, traveling in a zig-zag between the windings of the poem, the most important parts, those which help tell the story as a whole, but not completely rule out the details, which also are needed. He also does not follow closely the unfolding of the facts as they are reported in the original poem, but the episodes divided into themes, characters and events, so that the narrative is broken into parts, as Ariosto actually does: all the while to go meeting the reader by giving a version of the Furioso easier to navigate.

The contribution more providing valuable work consists in the aforementioned parties to support the prose poems of Ariosto: here the author does not merely summarize and to better specify the verses themselves from time to time offer: he would otherwise have come to consider them less important , they constitute the original poem, and then on what you should focus more attention, and then his book would not be different from anything in any summary of the work. In addition to this, in fact, the writer says what happens, lingering on the mood of a character or description of a landscape, explores the themes emerging from the original lines with almost philosophical reflections, ironically, just as the poet of the sixteenth century, making up some bizarre situations, sets out the particular techniques of narrative and style used by Ariosto. His prose is short, of dual nature: a prose fiction and criticism, which of course is a double contribution of the author. contribution which allows the work of Calvin to be not only work on the opera, but a real autonomous text.

There are also personal comments, which dwell more on the details, both on the poem, as the definition quoted at the beginning, and on its author. On Ariosto, Calvin highlights the links between him and his Characters: ago, for example, a comparison with Astolfo, unusual compared to other more traditional poet who see this reflected in her figure: "Never reveal anything about himself to us, what he thinks and what he feels, but the soul is Ariosto especially recognizable in him, lunar explorer who do not ever wonder about anything, who lives surrounded by the amazing and makes use of fairy items, magic books, metamorphosis and winged horse with the lightness of a butterfly "with these words, Italo Calvino to stress almost absent from his poem of Ariosto, at least for the events in the strict sense, because, just as the savior of the wits of Orlando seems normal to the lunar landscape and all of which makes use of magic, does not prove particular emotions in the subject narrated by himself, or at least not make them known.

As for the characters, Calvin pauses to describe them individually, but also makes general statements about them, we propose a possible classification : "There are those built of fairy pasta, which most rained blows upon him with lance and sword as you temper ... and there are those, no less noble and no less brave, made of dough that being human, receiving wounds are wounds that true, and it may die. " Calvin here, beyond the simple distinction in two categories of people Ariosto, mark the intent to fund Ariosto: to describe his characters by focusing more on the dynamics of the action on the creation of complex psychology that, in fact, matter to the poet is not to create characters with character true, but to establish an intense relationship between each character and the others, so that it may better to build this system around the complex web of relationships work. Hence the decision to allocate to each contain only one aspect of the immense human psychology and the distinction into two simple categories, without of course forgetting the major specifications of its most important characters as stated by Calvin himself.

In fact, our author does not forget to comment and the individual personality: "Orlando becomes, if not a real character, certainly living a poetic image, which had never been in a long series of poems that represented him with a helmet and armor. ", says about one of the main characters of Furioso, to emphasize the separation of Ariosto's chivalric tradition. Calvin, then, highlights the lack of importance that cover different characters but in the poems of chivalry have in general had always somewhere in the front row talking about Ferraù, Sacripante as knights and Rinaldo not necessary for the economy of the narrative. Finally, do not fail to note the role that covers the same fate in the actions of certain characters, is valuable in this regard, the description of processes Ruggiero: "Hard is the fate he has a destiny. The man destined advances and his footsteps can not take it there ... if the stars have decreed, in Ruggiero, a marriage of love, a glorious lineage, yet unfortunately a premature end .... "

The work itself, finally, focusing more on a point of view of narrative and stylistic choices is called "open" perhaps even with a small critical: it has a real beginning, serving as the continuation of ' Orlando Flirty of Boiardo, but not even seem to have an end, ending with yet another fight. But other than that, you certainly can not say that Calvin has not enjoyed make us appreciate, thanks to his skills as a writer and lover of literature, Furioso.

might be interesting for our discussion today is also a comparison with another book by Calvino, The Castle of Crossed Destinies . It contains two sections: the first entitled, precisely, The Castle of Crossed Destinies , while the second is entitled The Tavern of Crossed Destinies . In both, our writer likes to write stories of different characters simply by combining the Tarot, which represent human figures and objects: " When the cards side by side in case they gave me a story where I recognized a sense, I begins writing, "says . An idea, that, according to his genius. He does tell characters themselves, meeting in a tavern, what has happened to them, right through the cards, having lost the magic word. The cards, which are the same at the disposal of all, thus functioning as a unifying element between the various events: they are folded in different ways depending on the story, thus creating "a finite number of elements whose combinations multiply to billions of billions," as Calvin suggests itself. These describe the different stories in detail and precise, even reserving space for the accurate reflections on individual circumstances and details of the figures, just as in Furious he said, focuses on particular aspects of the poem and its characters. Although the fact that tarot cards are the same for every story involves a little repetitive, the book is certainly full of originality.

For what purpose such a comparison between two books by the same author? In fact, the comparison does not stop between the two books, but mainly between Calvin and Ariosto: the Castle of Crossed Destinies the first behaves exactly like the second in 'Orlando Furioso . As an external narrator, Calvin, albeit in a more orderly and easy to Ariosto, as divided according to the stories of the protagonist without lumping them together, and put together weaves together, relying on combinations of the Tarot, the adventures of the characters, the their destinies, sometimes also providing more specifications, reviews, comments. Does not approach the work perhaps sixteenth-century writer? Indeed, the actions here are more numerous, their faces to lead the reader through the various plots. In this way imitate what he has achieved in Furious interpreted by him and said, whose main purpose is, as we said explicitly at the beginning, to accompany the fans of Ariosto's poem in a reading for this sufficiently simplified. Once again we can then distinguish a double Calvino: a storyteller and weaver of tales (akin to Ariosto), another guide and commentator (comparable to Calvin's first book in question).

Another link can be found, this time with the poem, Ariosto, and covers the topics covered in the Castle of Crossed Destinies in many stories similar to those celebrated by Ariosto, but with some differences. One, for example, lies in the different treatment of the theme of chivalry: Calvin never occurs to irony, which instead uses the sixteenth-century poet, just as sixteenth, in describing the values \u200b\u200band personalities, almost goes back to the medieval tradition emphasizing In some cases, many positive features, such as the availability of knights to help the weak. The code of chivalrous conduct thus enjoys a different view and is a major focus of the events narrated, together with a more specific theme of Furioso, love, and instead a new, money. Both create new events and new situations, they involve the search for a match or love or more money; this research, just as in Ariosto's poem, it is vain and empty, of something that you can not find. Love and money can also lead to suffering, especially the second, as in the history of Thief Sepulchre.

The Castle of Crossed Destinies can be regarded as a bridge between the two Orlando Furioso, the original and that of Calvin, allowing us to better understand what are the connections between these two, already initially developed. In particular, detailed the key aspects of the poem of Ariosto, which Calvin himself had revealed in his first book, but did not provide detailed information on his ideas about it, but indications that emerge in the second book, particularly about the world of chivalry .

The title of this paper reveals another aspect to be explored: the modernity of Furioso. In what sense can one speak of a modern writer of the Renaissance era is still far from the age modern self? This refers to the fact that Ariosto is beyond his age, almost as if he expected the man would come after him in new cultural epochs, closer to ours. Here's how the 'Orlando Furioso directly reflects the historical period in which it was written and is projected directly into the future.

First of all, through a new conception of the tradition of chivalry, that term has so far been nominated many times but that was not given it yet in terms of Ariosto. Ariosto takes into account its many medieval sources, belonging to the cycle Breton and Carolingian and tradition of cantari, no passion for the values \u200b\u200bthat characterize them, or to mock these values \u200b\u200bhave disappeared from society, but merely to create a literary pretext behind which expresses values \u200b\u200brather typical of his era. The poet is well aware of the distance that separates him from society and the virtues of chivalry and also wants to convey to the reader of this distance Furioso, in several ways: first reworking, in a very personal and subjective, the events and characters of previous tradition, already known but with very different characteristics (and this is largely the originality of the poem), then, using tricks of style, as that makes extensive use of irony, with which you can look past the Knights with a certain superiority. A review of the literature of chivalry that we can not talk about breaking with the past, even with the recent 's Orlando Flirty of Boiardo, review that is permitted by the very fact that now the world expression of that literature no longer exists for some time.

This reform does not end, however, in Ariosto's narrative, but also unavoidably in themes: why the prince of the tradition of chivalry, the war is put, as the tradition itself, in the background. For Ariosto no matter the vicissitudes of war between Christians and Saracens, descriptions of the battles involving the other hand the individual characters, their stories and their thoughts, which in the chaos of war that can not be marginalized. Then enhances the value of the individual, in full harmony with the Renaissance culture. In support of this, leaves more room for deeply human themes: love, bringing joy and suffering, friendship, loyalty, madness, they replace, in part or in whole, courage, heroism , strength, bravery in battle. Furthermore, he decides to keep some areas as the Magic (characteristic of the Breton cycle) and research, these , but change their nature. So, why not the magic is just a fantasy element, but is of dual nature: it becomes a means of deception and thus power, but also the creator of art, which Ariosto configured as the expression of human domination of reality and its ability to self-determination. The research, however, does not commit more a knight in a long journey made to find its identity, a way that will have an end, however, becomes a wandering space and unfulfilled, to pursue nothing but illusions.

Revision even of the characters, seen as men, and here is the biggest step, breaking away not only from the world of chivalry: Ariosto's man is not only the Renaissance man, but is more modern, closer to us, because the poet knows that you will step forward from its present. A new man for self, and not only masters of their own destiny, and not prey to the case of a Providence.

is also the modern view that Ariosto's self (and here we move our field of investigation), that of a demiurge, a Shaper of his work, which necessarily becomes a creation, without the ' draw on sources could jeopardize its originality. How advanced is the idea of \u200b\u200bturning his attention to the reader, with interventions in the first person to guide and remind him that everything is unreal Furioso. But the reader is not only the Este court in which the poet's work: the poem goes beyond these boundaries, the author wants it to spread, hence the decision to adopt a language that can impose itself on all the Italian dialects, the Tuscan ( according to the theories expressed by Pietro Bembo). Finally, it is also the new genre of Furioso, which is configured as the prototype of the modern novel that, although starting from the matter of chivalry, at the same time it declares the end.

For all these reasons, the jump in time, the projection into the future that Ludovico Ariosto and his poem task is not trivial. If a contemporary author as Calvin has taken them into account (and not only admiration for literature) and examined them carefully, it means that he also found them closer to us than the appearance and the time that separates us they would have us believe.

Stefano Testoni

---

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L '"Orlando Furioso" and the vision of the emancipated woman

L '"Orlando Furioso" by Italo Calvino is a comment which has as its objective to clarify the plot but also on the work of Ariosto.
This operation was carried out in masterly fashion because the author appreciated the works of Ariosto and the same personality, and what we witnessed from his encyclopaedic knowledge of the masterpiece of the sixteenth century.
To comment on the work, the author uses cutouts of the original edition of which regularly advances the plot.
In this way, the storyline is more clear and simple despite Calvin remain faithful to the technique of Ariosto's "defer", also known as "entrelacement" which is to leave suspended the narration of episodes introducing new ones to create more suspense and interest to the reader.
The plot then is not damaged or altered in any way, every thing is narrated with the same sequence chosen from Ariosto.
Calvin seems to appreciate the character of Angelica, which is perhaps the most psychologically complex as it is in constant change, change for its own survival in whole, is sweet and sexy even with Medoro and its suitors if he wants to serve, it's cold and calculator seems to be aware of its beauty and also how to use it, maybe that is why it is so fascinating.
back to work, it as the other productions of Ariosto, was undoubtedly to Calvin not only an inspiration but a real model, a work from which you only learn on the author's mastery in handling the many events that are interlaced continuously within the work but also to draw a psychological profile of each character so spot by making them all be essential.
Ariosto was so important and so appreciated by Calvin the latter was in his work entitled "The Castle of Crossed Destinies" incorporates two pieces of the Furious (Astolfo to the moon and madness of Orlando), probably as a tribute to Ariosto.
These two steps Furioso are placed in a very specific context, since the opera is set in an enchanted castle in which all who are caught traveling in the darkness are welcomed and so does the narrator finds refuge precisely in this place. During dinner, the main character tries to talk to other guests, including Orlando and there were Astolfo, who had dinner without saying a word, but he realizes that he could not talk because he was in an enchanted castle. After dinner guests to communicate with each other using the cards, each representing the story of one of the guests and for this reason that Calvin adds two steps of the Furioso.
The cards are arranged on a table by way 'of tarot cards and in this so intertwined, giving rise to other stories where they take on different meanings than the previous.
Hence the title, from a castle in which the fates, the stories of the guests come together to go and make new stories. The special
, Calvino reveals that when added to his other stories, is that after having done it difficult to remember how he came there.
It seems that the act of removing the cards that represent their own history is tantamount to leave their memory.
The meeting between Calvin and the two characters instead of the Furioso is more puzzling because it is not clear whether only fulfill a function celebrating or whether they constitute an attempt to imitate or if somehow Calvin wants to join his story to that of Ariosto.
back instead to the 'Orlando Furioso, "it is the work that despite his age can still be considered modern in several respects, primarily for the way it dealt with the theme of love, but in particular as represented female characters.
E 'in this is that the modernity of the Furioso, emancipation of the female roles.
Ariosto it was a great connoisseur of Latin auctores tended to imitate them, but this way you can say that attempts to overcome not only the greatest Latin writers but also the great poets like Dante, Petrarch and Boccaccio, from which it is influenced in many ways.
The overcoming of the models is done with the assignment of female roles not only of greater importance and relevance but also a more detailed psychological profile and brash, just think of the psychological dynamics of Angelica or Bradamante which is actually stronger and more skillful than many knights of the opposite sex.
The originality of this operation is denied because until then Italian literature had always seen women relegated to the role of women as objects that inspired the verses of poets, but in reality is merely this, she was the ' object of desire. Just think of the Petrarchan Laura or Dante's Beatrice, were simply models of outer beauty, but in reality nothing could understand their character as they had only a marginal role, without action, these women, the poet addresses but nothing else.
In this sense, '"Orlando Furioso" gave really modern because if not out of place set in modern times, where women are always looking for more space.

Mario Falchi

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Nell 'Orlando Furioso, Ludovico Ariosto, Boiardo takes action where the claims and there are three main stories: first, it tells of the paladin Orlando, grandson of Charlemagne, and of how, in love with Angelica, he becomes insane because of the marriage of his beloved with Medoro, and its consequent loss of the sense that after Astolfo recover on the Moon, where is all that is lost on Earth, the same time there is the story of Angelica, with its endless leaks from the knights of her lovers, but she eventually falls in love the young soldier in Medoro become his wife, and finally an 'other story is that Bradamante and Ruggiero, respectively knight rider Christian and pagan, and the obstacles that the two must overcome to fulfill their destiny and married. The theater where you play the adventures of the characters is the war between Christians and Saracens Agramante of Charlemagne, under the watchful eye of the narrator, omniscient and outside.
are presented to the reader many different scenarios, from East to West, from the battlefields of the wildest woods, until you get to the moon with the Hippogriff, and in these places you play the adventures of characters whose feelings meet and attract each other: love, friendship, loyalty, devotion mingle and live with infidelity, deceit, violence. I am therefore figures that change, transform and reflect the real life characters, making the Orlando Furioso the novel of the passions and aspirations of the people of the time: the modern man is harmoniously composed, is not prepared in accordance with criteria of balance, but change, exaggerate, is torn between many desires and obligations. Ariosto knows that the world of knights belonging to the past and therefore does not intend to celebrate: The Orlando Furioso is intended as a literary device to express ideals and human values \u200b\u200bof 500.
The author tells in essence, the many paths that modern man, rational, free and responsible for their actions can be taken. An important element of novelty and modernity is the fact that the work is not directed only at the Este court, but to the whole contemporary society is the first literary work with the widespread use of the press.
Italo Calvino Law and revises the Orlando Furioso. He travels in the poem of Ariosto: not reported in full, but chooses, comments and explains the most beautiful verses, the suits in a modern way for easier understanding. Recall the different characters, explaining them and giving the right space at all.

In a way similar to the Furious is another work by Calvino: The Castle of Crossed Destinies. Perhaps a rereading of the castle of Atlas, the hero finds himself in a fortress in the middle of a forest with all sorts of other people imprisoned with him, can not speak and then tell their stories through tarot cards. But the arrangement of cards in a story resembles that of other stories and so the stories are interwoven, forming a huge network where you can lose yourself along the endless plots. And as the stories are endless identifiable in the arrangement of tarot cards, endless are the characters who could be identified.
The second part of The Castle of Crossed Destinies, entitled La Taverna of Crossed Destinies, is characterized by much stronger tone, the basic pattern is similar: a group of people gather in a tavern and tell their stories through tarot cards, but the atmosphere is not quiet, the terror of finding himself shot in that place has left its mark on the concrete actors, whose hair is whitened with fear, they also feel the rush of people to tell their own story: the cards just resting on the table are taken by others for other stories, so that some are forced to keep them well-secured with arms and hands, the stories themselves are the toughest in the loss and destruction. The atmosphere recalls the scenes of war or battle of Orlando Furioso. As in the Orlando Furioso
there is a unique complex and deep character psychology around which to rotate all the vicissitudes of the work. Ariosto is that Calvin, at least in this case, have created a large number of characters in order to underline the fundamental character that reflects a typical aspect of human nature, knowing not to exhaust its infinite variety.




Giuliana Siddi

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Ariosto between past and future

Masterpiece Ariosto is reviewed and commented on by Italo Calvino that with a simple description, personal, clear and sometimes humorous, it provides the reader with a modern key to understanding better the work. Through selected excerpts from the original text, provides an understandable exciting adventure in a fantasy world where the ability of Ariosto's narrative finds its highest expression. The premises
the songs are mostly short and informative, rarely exceed 100 lines.
The author focuses on the physical and psychological aspects of the characters, and the role that they have at that particular moment and context. The content is easily assimilated, given the narrative skills of Italo Calvino. Master is the author's ability to highlight especially the bonds that exist between the protagonists and what are these factors and causes were determined. Highlights Ludovico Ariosto as the ability to be manifested in being able to enter many characters in the story that slowly come together, sometimes "clash" in various events, without never be forgotten, and each character has a key role in the conduct of 'plot, although Ariosto prefer to emphasize certain characters than others.
The poem acquires a strong pace and takes us into that world of feelings and emotions that almost seem to belong. Italo Calvino
focuses particularly on the description of the castle of Atlas, in which states are attracted by deceit as Astolfo knights, or the same as Orlando, but also many other types of characters. Find out how the life experiences of the "participants" are linked together by reading and reviewing The Castle of Crossed Destinies. The castle seems to be a binding concept of reality which influences the whole of human existence. The characters are able to communicate with each other and tell their adventures through use of tarot cards, because they have been deprived of their voice. Genius is found this: it allows both players to express themselves, and others looking to develop conjectures, using the imagination. This is not a description of an end in itself but a way to share thoughts, know yourself and try not to forget their own identity. The Orlando Furioso
modernity lies in the fact that the author does not simply recreate the circumstances that recall the adventures described in the works of Breton and cycle of the Carolingian cycle, but can develop with words what it is today even difficult to reproduce in a film: the interweaving of events, the topics covered in every facet very reminiscent of the way we think. Ludovico Ariosto in the age of the population and the courtiers did not like us questioning on every single issue. We take seriously any argument and analyze it in detail, precisely what makes Ludovico Ariosto, projecting well into the future.

Silvia Pinna

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Modernity and variety in the Orlando Furioso "Orlando Furioso by Ariosto to Calvin"

In 1532, the entire world map, acquire their final shape the stories born from the pen of Ludovico Ariosto, who, in the Orlando Furioso, describes all sorts of characters lined up in rows the war between Christians and Saracens, without ever losing the thread represented by the loss of the sense of the ultimate champion Orlando. The work has its foundations on different aspects, mainly on irony with which Ariosto involves every element provided for in the poem as belonging to an ancient world and claustrophobic as the Middle Ages, whose funeral was celebrated by the Renaissance, it had been. In the eighth Ariosto is no room for magic, understood in its good and bad, for courtly love and loyalty to the sanctioned between the knight and his king, for solidarity between comrades.
Poem, that Ariosto, who inspired and still inspires critical thinking and which often result in works such as that written by Italo Calvino in 1970. Inspired by a great love for the style of Ariosto and the author himself, Calvin bare essentials reducing the Furious, commenting on the eighth they consider most important and highlighting the key issues. He does not fail to underline the irony, but also the human issues and events that unfold throughout the known world by Charlemagne, is consistent with the space left Ariosto's ability to build layers and layers of narrative that are varied between them, but do not disperse and never the less give the poem a bombastic heaviness. In this regard, which seems to celebrate and highlight the Furioso is written in 1973 "The Castle of Crossed Destinies" in which Calvin looks with a magnifying glass some of the episodes from Ariosto reduced retail that will not allow duels, armed, and love spells linger too long. Tarot cards on the table by placing the first of a castle and later a tavern, the other characters in common the fact that he lost in the woods and from having lost the use of the word, make known to those at their own history. Each episode, in its brevity, is emblematic of the issues addressed in the Furioso. So then, arranging the tarot cards to create their own story, alternate brides damned for refusing to recall the love that submissive behavior Angelica, the alchemist who pays the price for trying to overcome human knowledge, a subject on which Ariosto dwells the thought of his life for humanity by making the board to recognize the time allowed to reach them, but not surpass them. Through the Tarot speaks even Orlando, living oxymoron that goes from being a perfect example of honorable paladin and ran naked to massacre and irrational acts of any kind after losing the sense of love. "The Castle of Crossed Destinies" hosts of the intertwining plots that already has its inspiration in the Castle of Atlas, had hosted but did not speculate about the underlying theme, instead of the short axis, but examples, experiences narrated in the tarot. The zigzag path that goes out from Ariosto's furious to delve into the more modest and of an explanatory nature, "Castle of Crossed Destinies" Calvin, heralding the work of twentieth-century conception of the Furioso, which is characterized by the modernity of Ariosto is a promoter. The character of the Furioso runs horizontally to conquer the world of their own destiny, in the poem and the horses and riders racing at full speed without human limitations imposed by the customs of ecclesiastical dogmatism, authoritative and cultural sites in the Middle Ages had nourished. Paradigmatic is the alternation of offices Astolfo that first step onto the Moon, his body perfect and inviolable in the Middle Ages, and later returns to Orlando their wisdom, representing the rebirth rational man.
Orlando and the intricate course of events as diverse and absurd of his traveling companions, and then have pioneered the modern novel in a land where, according to Ariosto, who has not gone crazy.


Luana Cau

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The Furious: The Birth of soap operas and advertising

Trap complex world of men in literature and then decipher it, examine it and understand it is a challenge that Ariosto did not spare himself, and from which came one of the most brilliant works that have ever been writing: the eternally contemporary and modern "Orlando Furioso," an extreme variety of colorful tapestry that has never, however, disorder and confusion, a "large canvas" to pack under the wings of the so-called technical dell'entrelacement (plot), and many exciting events and human lives and, as such, inextricably marked with motifs and color themes from pastels of emotion.
The great narrative ability of Ariosto, his irony and his disillusionment, the mastery of narrative techniques, the mediocritas (balance), and, above all, a passion for fantasy activity, they did bring the author of the sixteenth century a number of Ferrara Scholars such an exuberant personality of the Italian literature of the twentieth century that has loved and fully supported production techniques and Ariosto: Italo Calvino, the author has demonstrated his passion for the Furious He tells in a work of 1970 which offers a unique guide to the reading of Ariosto's Orlando Furioso, in which the verses of selected passages alternating a simple and passionate story where the author manages to remain faithful to the original work to be interpreted and accompanied him as an omniscient narrator and external.
Calvino's work is not to be considered only as the result of a great love of Ariosto, but is also an important operation used to send the reading (directed mainly to the younger generation) of such an important work is often not fully appreciated and understood. The key to resolution of the two issues mentioned can undoubtedly be a key feature on which you based the entire work: modernity.
L '"Orlando Furioso" is, in fact, the modern poem par excellence: the father of the soap opera and a first form of advertising. Ariosto, its author, it is so, the predecessor of the men of the twentieth century, a time when, often unknowingly, have projected the eternal shadows of the techniques and the genius of a man who lived more than four years earlier.
The year was 1963 when he appeared in Brazil in the first telenovela episodes daily. In Italy the first soap opera was broadcast in January 1982 on Channel 4 (then owned by Mondadori).
By definition, the telenovela is a serial narrative that aims to keep alive the attention of his audience and then a very rich use of twists, reversals, unexpected, warning signs, revelations sensational and decisive. It 'a development of events which, divided into installments, based on family feuds, betrayals, injustice, thwarted love, escapes, ambushes, disguises and illegitimate children, all events that involve a number of characters divided between Good and Evil. The typical feature of the soap opera is undoubtedly the fact that its plot can evolve indefinitely.
This definition can not easily reflect the Furious? The answer to this question was given by the same Ariosto and can be easily found in the reading of the work on lots of adventures adventure intertwined with other events, speaking of champions, the ladies and their thwarted love, for companionship, exercise and noble values, magic, virtue, follies and their effect on men.
to this compositional technique, as yet another "proof of love," Calvin was inspired to compose a beautiful novel, "The Castle of Crossed Destinies" (1973) tells of a castle in the middle of a forest as a refuge to those who are close by but at the same time deprives them of the word. To put an end to the silence, absolute ruler of the walls, the refugees tell their life by a pack of cards which have been arranged according to the rules of tarot cards on a single table where each story meets and intersects with others to form a ' only provision. Fidelity to Ariosto by Calvin, is not demonstrated only with the plot that binds the fates of those men found by chance in the enchanted castle, but it is clearly explained by two figures, with their respective stories that emerge between Characters: Orlando and Astolfo, crazy love story of Orlando and the history of the Moon Astolfo.
Let us now analyze the second aspect of the modernity of the Furious: The genius of Ariosto and his extraordinary technical and narrative skills have made, unconsciously, the author's father, an early form of advertising as an interruption of a narrative sequence in its climax. Skilled
is in fact the author continually in interrupting the action to introduce or continue to be other episodes, like its predecessors, only to be left open, in due course, included. In performing this task, the technique which has used the technique of Ariosto is defined as "defer", easily found in the verb endings of the songs. The expected interest narrative implies that the suspension results in a calcolatissima suspense that envelops the reader.
This suspense is comparable to the well-known by the public of telenovelas forced to live in expectation of the public agonizing end or the beginning of a new episode.
The only difference is name for that Ariosto was the technique of "defer" to the cinematic world of the twentieth century and become the genuine cliff-hanging.
The birth of the telenovela and advertising and are still, however, only two of the many issues it possible to consider the poem as one of the first and most important expressions of modernity.

Angela Walling

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The rooms for the tournament by Angelo Poliziano

rooms for the tournament is a poem composed in the eighth in 1475 by Angelo Poliziano at the tournament organized by Lorenzo the Magnificent to celebrate the peace of the Italian powers. The work develops several themes
conforming to the ideal of docta varietas. One of the issues that police have covered is the platonic love.
He treats this issue through the expedient of the story between Julie and a nymph, which is Simonetta Vespucci. Inside the police operation
Cupid orbisce deception behind Giuliano revenge for the fact that it is devoted only to hunting and physical activity. Through this trap
Julian falls in love the nymph dressed in white: the beautiful Simonetta. Thanks to Julian
all'innamoramento we understand what are the key components of 'Platonic love: the beauty and youth. Several times in fact
Poliziano returns on these themes in his triumph in the composition of the locus amoenus. This last, a commonplace of the pastoral poetry, emphasizes the spring atmosphere that welcomes the birth of new love. Each element described in 'police action it refers to' importance and the triumph that love, youth and beauty take on the entire composition.



Joseph Gutierrez

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Un'emblema humanistic literature fifteenth

The rooms for the tournament Angel Poliziano is a poem in the vernacular in the eighth, made during the tournament organized in 1475 by Lorenzo the Magnificent to celebrate the success of diplomacy.
Although the main reason is that the composition encomiastic, to sing the company of Giuliano, Lorenzo's brother and winner of the tournament, and even if the title gives the impression of a poem that Narrattiva presenrerà svolgimengto of the carousel, in reality there can be no real space to the description of the event as it is sung in the Song of Bacchus Lorenzo belonging to the same kind of poetry in the eighth, to take the place of mythological events are the central theme of vengeance of Cupid and Julius of the nymph of being in the young Simon to sing the same Platonic love for a woman Florentine Giuliano of the same name. This clearly reflects the characteristic feature of the poetics of the police: to compose freely, according to the ideal of "docta varietas, especially through frequent mythological digressions.
However, it is the language of the myth that the work of the police may be emblematic of the spirit as an expression of the humanist culture of the second four hundred, which is now saturated and that feeds Neoplatonic idealism: what the mythological touch us depicts is a world made up of beauty, whiteness, and I mean all the perfections which the humanist ideals like Poliziano sucks. The neo-Platonic-idealistic spirit is reflected in both the description of Simon in the form of everything perfect and ideal of the female figure, both in the love that the young Julio test for the nymph: love conceived and developed in the spiritual dimension, which is expressed in 'ecstasy of the beauty of the girl and is intended as a means of spiritual perfection.
E 'was thus inherited the concept developed by the previous poem. The verses are imbued with transparencies of the Poliziano references to a number of great experiences of two and fourteenth-century literature, especially those stilnovistica and Petrarch, which is affected by the deification of women, explicitly compared to the divinity, that is described as a creature of God, in the second half of themes of honesty, humility, kindness, etc.., typical of stilnovisti Dante, and the delicacy and beauty of the natural landscape that reinforce with those of the woman-angela.
While it is indebted to the great schools of literary precedent for having caught the reasons expressive and conceptual blending in a happy and harmonious synthesis, Poliziano also exceeded the drawing fomale drawing unprecedented perfection: the refinement of lexical and preciousness of the images are the mark of all his poetry. It takes just the greatness of the poet if you understand that, with its ways, it is up to a huge and decisive step forward in the evolution of the vernacular in the literary sense that is the national language: it is raised to the level of a language capable of rivaling Classical Latin, which for centuries has dominated the world of writing. In merit of this contribution, the story has crowned the Police eternal fame and veneration.


Xiaohui Zheng