Starting from some of Tasso’s quotations in Conte di Carmagnola, the essay considers the importance given to the teaching of the late sixteenth-century epic poet in Manzoni’s work. In Gerusalemme liberata – this is the author’s purpose in the following pages – the Milanese writer could catch not only some elements useful to the representation of the inner man, but also a series of episodes which, inserted in their original diegetic development, can provide a moral teaching, too, not to mention the rest. Through some crossreferences to Tasso’s poem, the intertextual mechanism, as other rhetorical solutions, involves and forms the ideal Manzoni’s spectator, that is – as everybody knows – the judgespectator, constantly invited to consider the moral plausibility of the represented actions.
Ghidini, O., Una voce buona. Risonanze tassiane nel Conte di Carmagnola, <<TESTO>>, 2012; (63): 39-49 [http://hdl.handle.net/10807/32149]
Una voce buona. Risonanze tassiane nel Conte di Carmagnola
Ghidini, Ottavio
2012
Abstract
Starting from some of Tasso’s quotations in Conte di Carmagnola, the essay considers the importance given to the teaching of the late sixteenth-century epic poet in Manzoni’s work. In Gerusalemme liberata – this is the author’s purpose in the following pages – the Milanese writer could catch not only some elements useful to the representation of the inner man, but also a series of episodes which, inserted in their original diegetic development, can provide a moral teaching, too, not to mention the rest. Through some crossreferences to Tasso’s poem, the intertextual mechanism, as other rhetorical solutions, involves and forms the ideal Manzoni’s spectator, that is – as everybody knows – the judgespectator, constantly invited to consider the moral plausibility of the represented actions.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.