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Natura Narrans : Landscape As Literature in Early NATURA NARRANS: LANDSCAPE AS LITERATURE IN EARLY MODERN ITALY by TROY TOWER A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland, United States 21 July 2017 Abstract This dissertation uncovers literary self-consciousness in the forest settings of early modern Italian narratives, which exploit the symbolic and ecological properties of forest environments to fashion meditations on various aspects of narrative composition. The first chapter presents the etymological associations between woods, words and metaphysical generation solidified by Aristotelian commentators and applies these to the selva oscura of Dante’s Commedia. A reading of the opening forest as reflective of the poem’s still unrealized potential illuminates a sequence of metaliterary settings and throws into relief a character in the forest of suicides who seems aware both of his transformation into a poetic device and of his limited role within Italian literary history. A Dantesque pastiche tinges a haunted pine forest in one of Boccaccio’s novellas that expounds a spirit of inspired opportunism synonymous with the Decameron itself. The other narrative exploitations of the forest treated in the second chapter betray Boccaccio’s understanding of the randomness and believability necessary to hold the literary work in tension between nature and artifice, city and country, safety and danger, as emblematized by that other perennial symbol for the macronarrative, the garden. The final two chapters examine the same features of the forest in later works that imagine literary composition as a far less balanced operation. The plot of Ariosto’s Orlando furioso depends on its forest settings so much that it allows the trees to narrate its most momentous episode. By fully immersing the romance in the rhythms and vulnerabilities of the forest ecologies the author reveals the complexity and, indeed, vitality of literary worlds. Eager to clear the Ariostean woods from the morally legitimate realm of narrative poetry, Tasso devises a highly organized drama in which the forest is exploited for every material, spiritual and narrative functionality that can serve the pious and conservative ii hermeneutics demanded by counter-Reformation academics. Despite a lexical rigor that views trees as machines, the Gerusalemme liberata still gives room to explore the pathetic, personal potential of trees, especially those that share the poet’s name. While unique to the works containing the various forests, the four studies together trace the use of a particular construction to effect metaliterary commentary and in so doing confirm the general tendencies of early modern Italian literature, especially those concerning the complication of literary communication, through the relatively unexplored subfield of setting. Advisors: Dr. Walter Stephens, Johns Hopkins University Dr. Eugenio Refini, Johns Hopkins University iii Acknowledgments This dissertation is host to numerous oversights and occasional insights. The oversights are the author’s alone but the insights are the product of the rich academic communities at Johns Hopkins University and New York University that nurtured and guided this study. For helping to fashion these environments many thanks are owed to Michael Albert, Eli Anders, Wilda Anderson, Maria Luisa Ardizzone, Lorenzo Bacchini, Saverio Bellomo, Laura Benedetti, Johannes Birke, Lina Bolzoni, Gregory Bonetti, Lexie Botzum, Renzo Bragantini, Bryan Brazeau, Francesco Brenna, Danielle Callegari, Stephen Campbell, Igor Candido, Ofelia Catanea, Christopher Celenza, Virginia Cox, Doreen Densky, Valentina Denzel, Bruce Edelstein, William Egginton, Alyssa Falcone, Chiara Ferrari, Paul Fleming, John Freccero, Catherine Freddo, Hannah Friedman, Chris Geekie, Nathan Gies, Daniela Ginsburg, Brendan Goldman, Janet Gomez, Francisco Gómez-Martos, Jake Greear, Rebecca Green, Kathryn Haklin, Earle Havens, Teodoro Katinis, Cameron Kemal, Rachel Lavenda, Kathy Loehmer, Rebecca Loescher, Maria Grazia Lolla, Derek MacMath, Giuseppe Mazzotta, Valerie McGuire, Jenny Memo, Deborah Mifflin, Will Miller, Katherine Newhouse, Stephen Nichols, Eric Nicholson, Eleni Padden, Elizabeth Patton, Laura Perna, Katharina Piechocki, Diego Pirillo, Matt Poehls, Gabrielle Ponce, Lawrence Principe, Leopoldine Prosperetti, Bridget Pupillo, Maya Ratnam, Abigail RayAlexander, Christopher RayAlexander, Mason Rayner, Lauren Reynolds, Jean-Olivier Richard, Pervinca Rista, Hanna Roman, Avraham Rot, Angelika Rothhardt, Julie Roy, Elena Russo, Anne Schuchman, Sarah Schussheim, Elizabeth Sherwood, Gabrielle Spiegel, Molly Tanış, Kate Tunstall, Eleanor van den Heuvel, Beatrice Variolo, Sue Waterman, Bernadette Wegenstein, iv Neil Weijer, Jena Whitaker, Tania Zampini, Alessandro Zannirato, Michele Zanobini and others who go unnamed only with great embarrassment. Additional thanks to Angela Capodivacca, Jean-Christophe Cavallin, Christopher Koch, Vin Nardizzi, Marian Ochoa, Brandon Rohrbaugh and Levey Saintil for lending their expertise remotely and to Rosalind Holmes Duffy, Rolf Lohse, Andrea Moudarres, Michael Sherberg and Jessica Wolfe for responding to portions of this research at conferences. Thanks for material support are owed to the staffs of the Department of German and Romance Languages at Johns Hopkins and the Department of Italian Studies at NYU and the staffs of the Eisenhower and Peabody Libraries at Hopkins, Bobst Library at NYU, the Houghton Library at Harvard, the Library of Congress and the Biblioteca Nazionale Centrale di Firenze. Thanks to Taylor & Francis for permission to reproduce portions of “Naming Trees in the Gerusalemme liberata”, Romance Studies 31.3-4 (2013): 139-151. Pier Massimo Forni, James Coleman and Eugenio Refini deserve extensive thanks for improving drafts of this research. But truly the dissertation owes its entirety to Walter Stephens, whose imprint can be read on every page and whose supervision cannot be more deeply appreciated. Enduring thanks to Jane Tylus for much of the original inspiration for the project and to Maria D’Arcangelo for the initial introduction to Italian literature. A final note of personal thanks to Rosemary Nicolosi, Maya Martinez, Claire Abernathy, Dana Stalling, David Neale-Lorello and Barbara Baum and the participants of the Dissertation Group at the Johns Hopkins Counseling Center. While impossible to repay, the immense debt of gratitude owed to Tripp Rebrovick, Heather Stein, Katharine Urbati and Diana Tower may perhaps be lessened slightly by the successful completion of this dissertation. v Table of Contents Abstract ..................................................................................................................................... ii Acknowledgments.................................................................................................................... iv Table of Contents ..................................................................................................................... vi List of Figures ......................................................................................................................... vii Abbreviations ......................................................................................................................... viii Introduction: Natura narrans .................................................................................................... 1 Methodology ......................................................................................................................... 5 Chapter Summaries ............................................................................................................. 10 Chapter 1: Settings in the Self-Conscious Commedia ............................................................ 17 Woods and Words ............................................................................................................... 18 The Forest as Literalization ................................................................................................ 30 A Materialist Sequence ....................................................................................................... 51 Planted in Literary History.................................................................................................. 62 Chapter 2: Space and Systems in the Decameron .................................................................. 74 Literary Worlds ................................................................................................................... 75 Measuring Narrative Organization ..................................................................................... 88 Forests and the Space of the Novella ................................................................................ 103 Nastagio as Boccaccian Miniature .................................................................................... 124 Chapter 3: The Furioso as Forest.......................................................................................... 135 An Ecology in Motion ...................................................................................................... 138 Frames, Paths and Interstices ............................................................................................ 152 The Forest as Furioso at the Center of the Poem.............................................................. 169 Zigzags and Metaliterary Design .....................................................................................
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