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ARIOSTO – Orlando Furioso – La Fuga Di Angelica

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ARIOSTO – Orlando Furioso – La Fuga Di Angelica La fuga di Angelica La figura di Angelica è centrale nell’“Orlando furioso” come lo era stato nello “Orlando innamorato” che era rimasto interrotto dal Boiardo. Il primo canto prefigura la fuga di Angelica dal campo cristiano dopo che, portata da Orlando in Francia, era stata imprigionata da Carlo Magno il quale la offrirà al miglior combattente Orlando o Rinaldo nella lotta contro i saraceni. Durante la battaglia Angelica era rimasta sola e trovato un cavallo si era lanciata in una fuga che metterà in moto tutto il poema: svariati personaggi si metteranno alla sua ricerca intrecciando svariate vicende. Commento [1]: Il principale tratto è certamente quello della inchiesta o ricerca: ogni Commento [2]: personaggio attivo nel canto è alla ricerca di un qualcosa. Gli esempi sono numerosi: Ferraù che cercava l’elmo nel fiume poi cerca Commento [3]: Angelica e alla fine si ritrova a ricercare l’elmo e a causa dello spirito di Argalia si trova alla ricerca di Orlando; Rinaldo cerca prima il suo cavallo poi Commento [4]: Angelica e infine il cavallo; Angelica cerca la libertà. Ed Angelica cerca la Commento [5]: libertà proprio da coloro che la desiderano: Angelica è insomma l’oggetto del desiderio. Con Angelica tutti i protagonisti sono alla sua ricerca: di lei sono innamorati Orlando, Rinaldo, Ferraù, Sacripante. Grazie all’attrazione per Angelica le vicende prendono luogo: la fanciulla si presenta come il motore dell’azione. Tale motore è però passivo: è fuggendo che essa si fa ricercare provocando tutto. Fugge dal campo di Carlo Magno, fugge da Rinaldo e da Ferraù. Non è vero però che la sua figura resti sempre passiva. Diventa attiva quando ne ha bisogno, ossia quando decide di servirsi di Sacripante come guida e poi nel consolarlo. E questo passaggio dal personaggio passivo quale si delinea inizialmente al personaggio attivo di cui veniamo alla fine a conoscenza fanno rimanere il lettore interdetto. Angelica che sembrava una donna in preda alla paura e incapace di muoversi in una foresta, si presenta poi come una fredda calcolatrice che decide di sfruttare i sentimenti di amore di un uomo a suo favore. Ma questi Commento [6]: cambiamenti ideologici non sono unici all’interno del poema. Lo stesso Sacripante nel suo soliloquio elogia la verginità di Angelica nel linguaggio più cortese mostrandosi come un pezzo ti argilla plasmabile a piacimento agli occhi di Angelica. Infine, quando Angelica gli appare innanzi, scopriamo in ottave quali fossero i suoi veri interessi: vuole sedurre Angelica e cogliere il fiore che il più cortese Orlando non aveva colto. Anche i luoghi cambiano agli occhi del lettore nonostante non siano connotati con precisione geografica. Angelica in fuga si ritrova per una selva oscura dal carattere tipicamente dantesco (“Fugge tra selve spaventose e Commento [7]: scure, per lochi inabitati, ermi e selvaggi”). Dopo però Angelica si ritrova in un tipico locus amoenus della tradizione Commento [8]: classica stilizzato, colto in una stagione primaverile e in una atmosfera di felicità erotica (“Trovossi al fine in un boschetto adorno, che lievemente la fresca aura muove. Duo chiari rivi, mormorando intorno, sempre l’erbe vi fan tenere e nuove”). Tutto questo è utile per la comprensione della concezione della vita e del mondo di Ariosto. Sul piano narrativo il meccanismo dell’attesa delusa è molto utile: Commento [9]: permette l’intrecciarsi delle vicende, dei personaggi, il mutamento degli oggetti della ricerca ecc. Ma se astraiamo dal piano strettamente testuale possiamo leggere il poema con la consapevolezza ariostesca che le azioni umane dipendono dalla fortuna o dal caso. Vi sono dunque un pessimismo e una disillusione nella Commento [10]: sua visone della vita che però non sfocia mai nell’accettare Commento [11]: passivamente la sorte. Commento [12]: Commento [13]: Nell’incrociarsi dei destini infatti un ruolo importante è svolto dal caso. Per Commento [14]: caso Angelica incontra prima Rinaldo, poi Ferraù ed infine Sacripante. Commento [15]: E’ casuale anche l’incontro di Sacripante con il cavaliere ed infine con il messaggero. Utilizzando come metodo di lettura la metafora si può giungere a considerare la selva che è delimitata ma indefinita e varia, come il simbolo del mondo. Tutte le contrapposizioni trovano un risvolto anche sul piano stilistico. Commento [16]: Sono molto frequenti gli ossimori a partire dallo stesso titolo Orlando Commento [17]: (considerato come il cavaliere per eccellenza) Furioso (che contrasta con la natura cortese del cavaliere che si è creata con il passare del tempo). Questo artificio permette di guardare allo stesso tempo le opposte fenomenologie di Angelica ma anche degli altri personaggi o di altri temi. Orlando ha una carattere comico e uno nobile che caratterizzano entrambi la sua fedeltà nei Commento [18]: confronti di Angelica che porta poi al tradimento verso Carlo Magno. Ne è un altro esempio la figura di Angelica: ella è disegnata prima come un agnello Commento [19]: sacrificale inseguito dai lupi e in preda a una paura insopprimibile, dopo ci Commento [20]: appare come una fredda calcolatrice che è cosciente delle sue capacità e Commento [21]: qualità e che riesce a usarle al meglio. Angelica è l’oggetto del desiderio sempre inseguito ma che non è mai raggiunto. Essa è sempre sostituita da qualcos’altro: si può trattare Commento [22]: l’elmo, il cavallo, la spada, la donna. Di fatto non si insegue mai un oggetto preciso ma i personaggi hanno sempre una propensione a realizzare i propri desideri che è chiaramente impossibile. Abbiamo visto come tra i versi del suo poema egli lasci passare la sua concezione del mondo e della vita ma Ariosto interviene. L’autore si inserisce nel racconto per raccordare le varie fasi o per dare informazioni (“Ma seguitiamo Angelica che fugge”, “Quel che seguì tra questi due superbi vo’ che perl’altro canto si riserbi”). Questi elementi permettono al lettore di comprendere come la vasta materia che costituisce il poema sia amministrata con estrema armonia: si comprende come tutto sia frutto di un progetto preciso. A questi interventi di raccordo si aggiungono commenti dell’autore. Essi permettono di generalizzare l’esperienza degli eroi e di donarne un senso più concreto. Quando Orlando porta Angelica al campo crede di averla al sicuro ma alla fine Carlo Magno gliela sottrae, Ariosto dice “Ecco il Giudicio uman come spesso erra”. Da questa frase è facile capire l’intera concezione del mondo ariostesca. Ariosto esprime il suo scetticismo circa le possibilità che la ragione umana possa governare il caso o più in generale la vita umana. Nel momento in cui Ferraù e Rinaldo interrompono il loro duello per cercare la dolce amata che fugge, salendo sullo stesso cavallo Ariosto sottolinea l’ironia , già di per sé evidente, con l’affermazione: “Oh gran bontà de’ cavalliri antiqui”. In questo modo ironizza evidenziando la scomparsa dei valori religiosi e cavallereschi del ciclo carolingio lasciando il posto ad una letteratura umanistico cavalleresca che si fonda sull’amore e sull’onore e sulla tolleranza religiosa fin dove è possibile. Ariosto inoltre afferma “Forse era ver, ma non però credibile” per ironizzare sulle avventure di Angelica che nonostante tutto è riuscita a mantenere verginità. Questo permette soprattutto di relativizzare l’idea che si ha di Angelica non assolutizzandola e nemmeno sminuendola. Angelica rimane pur sempre l’oggetto del desideri di ogni eroe. .
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