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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