Critical Reception
Orlando Furioso won immediate fame. Around the middle of the 16th century, some Italian critics such as Gian Giorgio Trissino complained that the poem failed to observe the unity of action as defined by Aristotle, by having multiple plots rather than a single main story. The French poet Pierre de Ronsard and the Italian poet Torquato Tasso both felt that Orlando Furioso lacked structural unity. Ariosto's defenders, such as Giovanni Battista Giraldi, replied that it was not a Classical epic but a romanzo, a genre unknown to Aristotle; therefore his standards were irrelevant. Nevertheless, the strictures of the Classical critics influenced the next great Italian epic, Torquato Tasso's Gerusalemme Liberata (1581). Tasso tried to combine Ariosto's freedom of invention with a more unified plot structure. In the following decades, Italian critics argued over the respective merits of the two epics. Partisans of Orlando praised its psychological realism and the naturalness of its language. In the 19th century, Hegel considered that the work's many allegories and metaphors did not serve merely to refute the ideal of chivalry, but also to demonstrate the fallacy of human senses and judgment. Francesco de Sanctis and Attilio Momigliano (it) also wrote about Orlando Furioso.
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