L’amorose furie d’Orlando de Giacinto Andrea Cicognini y el teatro de abolengo ariostesco de Lope de Vega: una cuestión crítica pendiente

[Machine translation] In the light of what has been stated throughout the work, it seems plausible to agree with Gobbi with regard to the fertile presence of Angélica in the Catay in the dramatic fabric of L'Amorose Furie d'Orlando, and more generally of the New Comedy formula, although obviously that of the Italian critic had been a mere intuition that was not supported by a detailed textual analysis and comparison. The notes collected here seem to confirm that Cicognini's imitative or rather intertextual practice knows how to conceal the Lopesco source text very cleverly, in this specific case even more so than in other comedies because it can easily contaminate it with the Italian Ariostesco tradition as well as with the stage practice of the Commedia dell'Arte. At the same time, they show the extent to which the Florentine is an attentive reader of Lope, capable of taking advantage of isolated metaphors and moving motives from one episode or character to others that are apparently heterogeneous. There is no doubt that to isolate the subtle intertextual game that Giacinto Andrea plays in L'amorose furie d'Orlando with Angélica in Catay, it is necessary to read and reread the two comedies without losing sight of the Ariostescas octaves with a care that, to date, no critic had thought appropriate to dedicate to them, perhaps, in both cases, unsuccessful comedies. For this reason, it is quite possible that I have missed further details that could reinforce the peculiar imitative operation carried out by Cicognini. And if it is true that some images and phrases form part of a literary interdiscursivity that goes beyond the two comedies analyzed, the fact remains that the numerous analogies cut out cannot be the result of chance.