Article révisé par les pairs
| Résumé : | This paper analyses the role played by Ariosto in Aretino’s comic-parodic poems, Orlandino (1540) and Astolfeida (1547). Aretino’s parodical dynamics involve not only the use of an obscene language, but also the revisitation of chivalrous topoi, such as the banquet (in which human characters are represented as animals) and the bellicose encounter (which assumes a ridiculous dimension that is incompatible with the knightly bon ton). The success of Aretino’s comic-parodic style is detectable in several poems written by other authors, such as Il Ruggero (1543) by Bartolomeo Oriolo and La Bradamante Gelosa (1552) by Secondo Tarentino, which, however, are less explicitly presented as parodies. |
