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Fortune and Romance : Boiardo in America / Edited by Jo Ann Cavallo & Charles S Fortune and Romance: Boiardo in America xexTS & STuOies Volume 183 Fortune and Romance Boiardo in America edited b)' Jo Ann Cavallo & Charles Ross cr)eC>iev2iL & ReMAissAMce tgxts & STuDies Tempe, Arizona 1998 The three plates that appear following page 60 are reproduced by permission of the Folger Shakespeare Library. The map of Georgia that appears on page 95 is reprinted from David Braund's Georgia in Antiquity (Oxford University Press, 1994), by permission of Oxford University Press. Figures 8, 10 and 11 are reprinted courtesy of Alinari/Art Resource, New York. Figure 9 is reprinted courtesy of Scala, Art Resource, New York. ©Copyright 1998 The Italian Academy for Advanced Studies in America at Columbia University Library of Congress Cataloging'in'Publication Data Fortune and romance : Boiardo in America / edited by Jo Ann Cavallo & Charles S. Ross p. cm. — (Medieval & Renaissance texts & studies ; 183) Most of the essays in this volume stem from the American Boiardo Quincentennial Conference, "Boiardo 1994 in America," held in Butler Library, Columbia University, Oct. 7-9, 1994, sponsored by the Italian Academy for Advanced Studies in America. Includes bibliographical references and index. ISBN 0-86698-225-6 (alk. paper) 1. Boiardo, Matteo Maria, 1440 or 41-1494 — Criticism and interpreta- tion — Congresses. 1. Cavallo, Jo Ann. II. Ross, Charles Stanley. III. American Boiardo Quincentennial Conference "Boairdo 1994 in America" (1994 : Butler Library, Columbia University) IV. Italian Academy for Advanced Studies in America. V. Series. PQ4614.F67 1998 85r.2— dc21 98-11569 CIP @ This book is made to last. It is set in Goudy, smyth-sewn, and printed on acid-free paper to library specifications. Printed in the United States of America CONTENTS Preface vii Foreword Allen Mandelbaum ix Introduction ]o Ann CavaUo & Charles Ross 1 FORTUNE The Fortunes of Morgana: From Boiardo to Marino David Quint 17 Orlando's Opportunity: Chance, Luck, Fortune, Occasion, Boats, and Blows in Boiardo 's Orlando Innamorato James Nohmberg 31 Trade and Fortune: Morgana and Manodante Michael Murrin 77 Denying Closure: Ariosto's Rewriting of the Orlando Innamorato Jo Ann CavaUo 97 ROMANCE "lo ben comprendo la vergogna": The Faces of Shame in the Orlando Innamorato Werner Gundersheimer 137 Love, Lust, and Avarice: Leodilla between Dante and Ovid Manuele Gragnolati 151 Damsel in Distress? Origille's Subjectivity Charles Ross 175 vi Contents HUMANISM AND LITERACY Double Vision: Boccaccio's Filocolo in Boiardo's Orlando Innamorato John McMichaels 193 Bella Istoria, Vera Istoria, and Boiardo's Competent Reader Richard F. Sorrentino 205 The Promotion of Literacy in the Orlando Innamorato Michael Sherberg 111 On the Indignity of Man: The Quarrel between Boiardo and Pico della Mirandola Kathleen Orozier Egan 237 THE ARTS IN FERRARA Boiardo and the Visual Arts in Ferrara: Comparisons and Convergences Joseph Manca 261 Commemoration, Self-Representation, and the Fiction of Constancy in Este Court Portrayal Jodi Cranston 271 The Room and the View: A New Look at Giulio Boiardo's Private Apartments at Scandiano Katherine A. Mclver 279 Musical Culture in Late Quattrocento Ferrara: Local Traditions and Foreign Influences Leeman L. Perkins 295 BOIARDO'S MINOR WORKS Aphasia and the Divided Self: Boiardo's Amorum Libri Tres Robert J. Rodini 317 Staging Timon the Misanthrope Nancy Dersofi - 329 Index 339 Notes on Contributors 368 PREFACE MOST OF THE ESSAYS IN THIS VOLUME Stem from the American Boiardo Quincentennial Conference "Boiardo 1994 in America," held in Butler Library on the Columbia University campus October 7-9, 1994. The con- ference was sponsored by the Italian Academy for Advanced Studies in America at Columbia University, with the collaboration of Purdue Univer- sity's English Department, Italian Program, and School of Liberal Arts, the Department of Italian at Columbia University, and the Istituto di Studi Rinascimentali based in Ferrara, Italy. Ours was one of four major confer- ences on Boiardo held in 1994. The Italian Boiardo Quincentennial con- ference, entitled "II Boiardo e il mondo estense nel quattrocento," was held in Scandiano, Modena, Reggio Emilia, and Ferrara on September 13- 17. The other two conferences were held in St.-Etienne, France, on Octo- ber 21-23, and London, England, on December 2-3. The title of our conference, " Boiardo 1994 in America," deliberately echoed the title of the volume Ariosto 1 974 in America, which grew out of an earlier conference on Ariosto, also held at Columbia University. Typi- cal of the critical climate predominating until recently in Ariosto studies, the ten essays of that volume are without any reference to the poem that Ariosto's own masterpiece aimed to complete. Our goal, by contrast, has been to understand Boiardo by placing his writing in the context of medieval and Renaissance literature and culture. We therefore invited eminent scholars of classical, medieval, and Renaissance literature, art, music, and history to bring their expertise to the study of Boiardo. Our hope was to offer a plurality of voices that will engender debate and furth- er research. The volume opens with a section on fortune, exploring both the theme of Fortune in the Orlando Innamorato and beyond (Quint, Nohmberg, Murrin) and the subsequent critical fortune of Boiardo's f)oem itself (Ca- viii JO ANN CAVALLO AND CHARLES ROSS vallo). The next section, on romance, examines different theoretical ap- proaches to the Orlando Innamorato: psychology (Gundersheimer, Gragno- lati) and gender studies (Ross). The section on humanism and hteracy focuses on ethics (McMichaels), audience (Sorrentino, Sherberg), and phi- losophy (Egan). We then offer four essays on the arts in Ferrara: three on visual performances (Manca, Cranston, Mclver), and one on music (Per- kins). The volume concludes with two considerations of Boiardo's minor works: his major lyric sequence (Rodini), and his one play (Dersofi). We would like to thank the Italian Academy for Advanced Studies in America at Columbia University for its continued support through the sponsorship of the present volume. Jo Ann CavaUo Charles Ross ALLEN MANDELBAUM Foreword Un'altra fiata, se mi fia concesso, Racontarovi il tutto per espresso. Some other time, if God permits, I'll tell you all there is to this. WHAT BOIARDO DID NOT LIVE TO DO, the contributors to this volume have done: they have told it all. They have given us an exegetical gozZ(y vigiia, a revel-wassail that is yet ever lucid. (My own sense of the Columbia symposium was only confirmed when I overheard one unbearded auditor mutter decisively on 9 October 1994: "He did not live to tell it all: that task was left to Butler Hall.") As befits a revel, these contributors do not slight the energy, zest, and exuberance of Boiardo the romancer (even, at times, with garrulousness be- yond his own). But above all—and deepest of all—they have dug into his 4,430 octaves with convincing force and numerous insights. They have shed light on the ethical cruxes he confronts, on the reso- nances for us of his insistence on non-closure, his awareness of how elusive the "all" is; on his "romance" geography in relation to the commercial atlas of his own—and of earlier—times; on the pressures of chant and of transcribed text; and on the musical and pictorial contexts that bordered his discourse. They have given us Boiardo not as "predecessor" but as brilliant con- temporary of both his antecedents and his successors, a vital member of the fraternity that encompasses Ovidians, chansonists, and forgers of moral awareness in narrative form. They have traced the syncretistic trail-task of molding the matter of — ALLEN MANDELBAUM France and the matter of Britain and the resonances of Ovidian Latinity that compelled his audience and can compel us. I say Ovidian Latinity but Vergil, too, is here, even the Ferraran's implicit awareness of the sav- age Juno's line so dear to Freud: ''Flectere si nequeo superos, Acheronte movebo"—(or we might hear Juno as saying: "If I/can't bend the gods on high, then I'll move Hell"). And Boiardo does mobilize-analyze the under- world of desire. Is Boiardo's non-closure a measure of the unattainability of a perfect state or a state of perfection? Certainly, the writers of this volume can lead us to see how interlacing is Boiardo's plot-web but, too, how intricate and probing is his moral vision. Even the reversal— in this volume—of the chronological order of Boiardo's works, with Rodini concluding with a cadenza on Boiardo's earlier lyrics (in the wake of Di Tommaso's MRTS volume of perceptive facing-page translations), can incite us to see Boiardo the lyricist as one who may—finally—be aphasic, obsessed by his inability to encompass his beloved with his words. But, at the same time, we are free to find (early on in the Amorum Libri) another Latin layer in Boiardo, a fleeting but indeli- ble reprise of the upbeat Lucretius of the invocation to Venus, making room for the De rerum as an index of Boiardo's love of this earth, an un- Petrarchan Boiardo. * * * Some say that Mark Twain said: "The difference between truth and fic- tion is that fiction has to make sense." I hope much that this present vol- ume will spur the pedagogic itch of both the teachers and the taught. It would indeed be a "shame" (as Gundersheimer might say) if the "oppor- tunity" were not seized (as Nohrnberg would certainly say) to find the rich, enduring sense of Boiardo's fiction. INTRODUCTION I Boiardo's Sfortuna The world was changing rapidly in the months before the poet Matteo Maria Boiardo died on December 19, 1494. Leonardo da Vinci was forty-two and working on the Last Supper.
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