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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