Ariosto's Orlando Furioso structure and analyses
General ideology and main themes:
L’Orlando Furioso is a ’ work of Ludovico Ariosto that if we want to synthesize founding spirit of the Renaissance. Ariosto shows a clear awareness of the existential and moral limits that characterize l ’ man and cultural and political crisis that swept through the Italian city in early 1500. Knightly matter utilized by Ariosto in’Orlando Furioso It was already established and widely used by previous literary tradition as an effective tool that can meet the demands and expectations of the audience courtier ferrarese. Fundamental values of humanism, courtly ’ resumes Ariosto and chivalrous by ’ artwork of Boyar (Orlando Innamorato) However it differs and distances himself from his narrative methods and its ideals. The main difference from all ’ ideology of Boyar lies in the conception of love. Boyar was a tool for spiritual elevation and love of inner finishing of characters clearly integrated in their function of heroes, of interpreters of values such as l ’ Audacity,the force, the loyalty,….In Ariosto l ’ love is a source of anxiety for the ’ man (furious love). As evidenced by the introduction, where Ariosto caters all ’ beloved asking her a remission from furore amoroso and not ’ inspiration for singing.
Virtue and pessimism:
The pessimism of Ariosto is essentially due and highlighted by presence of the case, that in every situation frustrates the efforts and actions of ’ man lost in the intricate paths of life. According to Ariosto virtue and will are therefore less relevant and crucial for the success of the actions of human ’ ’. A clear example is the episode of ’ Angalica in the forest and the tortuous and intricate (as well as) vain pursuit of the Knights in love.
Case and magic
Ariosto is prefigured as the overall Director of the story,but ideological and thematic level is the case (understood in a secular sense) the organizing principle of the events. The magic for its part is reduced to an effective narrative theme and structurally imperative to do great hold upon the public. Magic and spells face one another and showing hyperbolic identities, but with purely natural bases. L ’ man must therefore adopt and do absolutely appeal to rationality and cunning to triumph where not even magic can emerge.
Form and structure:
L ’ opera is divided into three main narrative strands:
Orlando love (and other Knights) for Angelica
war between Saracens and Christians
love between Bradamante and Ruggiero