It is well known that the whole of the Orlando Furioso is intimately affected – without this being openly acknowledged - by the tumultuous events of the times of its composition and then amendation: the catastrophe of the Italian states and the end of their independence. The very representation of the Muslim within the poem - besides being textually complex and nuanced - has nothing of the ‘merely literary’ about it: far from being a narrative device detached from the historical context and the political reality of its time, it engages with the threat of Ottoman penetration in Europe, and the very real conflicts then taking place.In Ariosto's masterpiece, therefore, the topoi about Italy and the representations of Turkish and Muslim ‘otherness’, while adhering to the forms and the rhetoric models of the literature of contemporary ‘civil classicism’, do reveal the work’s imbrication with the conflicts, the clashes of power and civilization of its time, giving voice to a veritable collective political unconscious. In this essay we try to sketch out some further reading path and to add some interpretative notation to what has already been detected by those critics who’ve been questioning Ariosto’s proverbial ‘harmony’, probing instead the contradictory and conflicting aspects of the poem.
|Numero di pagine||96|
|Stato di pubblicazione||Published - 2020|