The Mandragola has been studied and analysed in time from innumerable points of view. Its interpretations, however, fall schematically in two opposing fields: on the one hand, it is viewed as a serious and bitter meditation on both the world it belongs to and (human) nature; on the other hand, as an irresistibly funny comedy, aimed at depicting Florence and mocking its inhabitants; a comedy which, through its happy ending, communicates possible future opportunities for the exercise of “virtù”. Through a re-elaboration of textual evidence, these notes aim at underscoring the inseparable interrelationships of the two main interpretative lines of the comedy - and its paradoxical intertwining of comic illusion and serious meditation, rebirth and death, fertility and sterility - to argue that this twofold unity is the most adequate perspective to grasp its sense.
The Mandragola has been studied and analysed in time from innumerable points of view. Its interpretations, however, fall schematically in two opposing fields: on the one hand, it is viewed as a serious and bitter meditation on both the world it belongs to and (human) nature; on the other hand, as an irresistibly funny comedy, aimed at depicting Florence and mocking its inhabitants; a comedy which, through its happy ending, communicates possible future opportunities for the exercise of “virtù”. Through a re-elaboration of textual evidence, these notes aim at underscoring the inseparable interrelationships of the two main interpretative lines of the comedy - and its paradoxical intertwining of comic illusion and serious meditation, rebirth and death, fertility and sterility - to argue that this twofold unity is the most adequate perspective to grasp its sense.
Mandragola una e bina / Velotti, Stefano. - In: BRUNIANA & CAMPANELLIANA. - ISSN 1724-0441. - STAMPA. - XX:(2014), pp. 61-75.
Mandragola una e bina
VELOTTI, Stefano
2014
Abstract
The Mandragola has been studied and analysed in time from innumerable points of view. Its interpretations, however, fall schematically in two opposing fields: on the one hand, it is viewed as a serious and bitter meditation on both the world it belongs to and (human) nature; on the other hand, as an irresistibly funny comedy, aimed at depicting Florence and mocking its inhabitants; a comedy which, through its happy ending, communicates possible future opportunities for the exercise of “virtù”. Through a re-elaboration of textual evidence, these notes aim at underscoring the inseparable interrelationships of the two main interpretative lines of the comedy - and its paradoxical intertwining of comic illusion and serious meditation, rebirth and death, fertility and sterility - to argue that this twofold unity is the most adequate perspective to grasp its sense.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
