Beyond the story of storytelling: The narrator as lover in Ariosto'sOrlando Furioso

Federica Pich
2015 The Italianist  
Beyond the story of storytelling: the Narrator as Lover in AriostoÕs Orlando Furioso Chi salirˆ per me, madonna, in cielo a riportarne il mio perduto ingegno? che, poi chÕusc" daÕ bei vostri occhi il telo che Õl cor mi fisse, ognior perdendo vegno. NŽ di tanta iattura mi querelo, pur che non cresca, ma stia a questo segno; chÕio dubito, se pi• si va scemando, di venir tal, qual ho descritto Orlando. Per r•aver lÕingegno mio mÕ• aviso che non bisogna che per lÕaria io poggi nel cerchio de la
more » ... o in paradiso; che Õl mio non credo che tanto alto alloggi. NeÕ bei vostri occhi e nel sereno viso, nel sen dÕavorio e alabastrini poggi se ne va errando; et io con queste labbia lo corr˜, se vi par chÕio lo r•abbia. 1 It would be hard for any scholar interested in the Orlando furioso, no matter how resistant to metaliterature and theory, to dismiss AriostoÕs pervasive and sophisticated use of selfreflexive devices, which unsettled critics and inspired writers for centuries, from Cervantes to Calvino. Most notably, his talkative Narrator Ônot only forms one of the chief attractions of the poem, but has had great influence on writers as diverse as Spenser and FieldingÕ. 2 The studies partly or wholly devoted to metanarration and metafiction in the poem range from narratological approaches to historical inquiries on the use of entrelacement in the chivalric tradition, from political and moral readings to biographical interpretations, with or without a wider perspective on AriostoÕs other works. 3 In particular, after the pivotal work by Durling,
doi:10.1179/0261434015z.000000000128 fatcat:upqbkphdyzgk3lp2awijxmlp4u