![]() ![]() This article explores one avenue by which Ariosto disrupts such ostensible polarities through the dynamic intertextual practice of writing and rewriting the “Orient.” A close reading of Canto XXVIII’s resounding echoes of the Thousand and One Nights’ and the lesser-known Hundred and One Nights’ frame tales, illuminates the Furioso’s double focus upon movement toward and away from Muslim-Arab cultural affiliation, a push-pull that opens a space of difference where literary traditions can converge neither in reconciliation nor domination of one another. This canto’s staging of Orlando’s madness signals a significant extra-textual literary transition, unsettling the binary of medieval and classical literary traditions that Ariosto draws on, and suggesting a novel genre of literary expression. ![]() Canto XXIII marks a tragicomic turning point in the Orlando Furioso, as the tension sustaining the titular character’s epic stoicism and romantic chivalry falls away to reveal a maniacal anti-hero. ![]()
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