Ariostos Astute Arrogance: The Construction of the Comic City in La Lena.

This essay interrogates Ludovico Ariostos theatrical poetics by charting his developing sense of the theatrical space and his embrace of the contemporary. From an initial appropriation of Roman stage models to a more nuanced appreciation of the comic possibilities afforded through a modernizing use...

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Published in:Renaissance & Reformation / Renaissance et Réforme Vol. 40; no. 1; pp. 37 - 67
Main Author: O'CONNELL, DARAGH
Format: Article
Published: Iter Canada 2017
Subjects:
Online Access:View this record in EBSCOhost
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        atl: Ariostos Astute Arrogance: The Construction of the Comic City in La Lena.
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        au: O'CONNELL, DARAGH
        affil: University College Cork
      su:
        Ariosto, Lodovico, 1474-1533
        Polarity in literature
        Potentiality theory (Philosophy)
        Comedy
        Vices in literature
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          Ariosto, Lodovico, 1474-1533
          Polarity in literature
          Potentiality theory (Philosophy)
          Comedy
          Vices in literature
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        This essay interrogates Ludovico Ariostos theatrical poetics by charting his developing sense of the theatrical space and his embrace of the contemporary. From an initial appropriation of Roman stage models to a more nuanced appreciation of the comic possibilities afforded through a modernizing use of the contemporary city as more than a mere backdrop, Ariosto inscribed his native Ferrara in comic form, at once a subversive antithesis to the idealized courtly city and a repository for comedic potentialities. This is most evident in two of his comedies: II Negromante (1520; 1528) and, in particular, La Lena (1528), in which Ferrara (both named and unnamed) assumes an increasingly important role in the construction of the "comic city." Ultimately, Ariosto's transformation of theatrical tradition may be located in his interrogation and satirization of the vices and mores of Ferrara, resulting in the creation of one of the finest plays of the Italian Commedia erudita.
        Cet essai examine la poétique théâtrale de VArioste en retraçant le développement du sens de l 'espace théâtral dans son oeuvre et la manière dont il est lié à son époque. L'Arioste s'approprie d 'abord les modèles romains de décors de scène, pour ensuite en explorer les possibilités comiques par une appréciation plus nuancée de la représentation de la ville, qui dépasse le fond de scène. Ainsi, il inclut sa ville d 'origine, Ferrure, dans la forme comique, ce qui en fait à la fois une antithèse subversive de la ville de cour et une source de possibilités pour la comédie. Cet aspect s 'observe en particulier dans deux comédies: Il Negromante (1520 et 1528) et, davantage encore, dans La Lena (1528), dans lesquelles Ferrare (nommée ou non) prend une importance croissante dans la construction de la « cité comique ». Enfin, les transformations que fait subir l 'Arioste à la tradition théâtrale s 'observent dans sa mise en cause et sa satire des moeurs et des vices de Ferrare, ce qui donne le jour aux meilleures pièces de théâtre de la « comédie savante » italienne.
      pubtype: Academic Journal
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    language: Italian
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