Further Reading
- MLN 103, no. 1 (January 1988). (Entire issue devoted to studies of Orlando furioso by such critics as Peter V. Marinelli, Peter DeSa Wiggins, and Robert J. Rodini.)
- Ascoli, Albert Russell, Ariosto's Bitter Harmony: Crisis and Evasion in the Italian Renaissance, Princeton: Princeton University Press, 1987. (Book-length analysis of Orlando furioso that argues that Ariosto's poem both evokes and evades crises of self, the city-state and the church.)
- Blum, C. Sartini, "Pillars of Virtue, Yokes of Oppression: The Ambivalent Foundation of Philogynist Discourse in Ariosto's Orlando furioso," Forum Italicum 28, no. 1 (spring 1994): 3-21. (Examines the portrayal of women and sexual politics in Ariosto's poem.)
- Brand, C. P., "From the Second to the Third Edition of the Orlando furioso: the Marganorre Canto," in Book Production and Letters in the Western European Renaissance: Essays in Honour of Conor Fahy, edited by Anna Laura Lepschy, John Took, and Dennis E. Rhodes, pp. 32-46. London: The Modern Humanities Research Association, 1986. (A study of the 1532 edition of Orlando furioso, suggesting Ariosto’s process for composing the poem.)
- Brand, C. P., "The Arts of the Narrative," in Ludovico Ariosto, pp. 126-39. Edinburgh University Press, 1974. (Discusses the narrative structure and thematic unity of Orlando furioso.)
- Chiampi, James Thomas, "Between Voice and Writing: Ariosto's Irony according to St. John," Italica 60, no. 4 (winter 1983): 340-50. (Examines the relationship between voice and writing through the figure of St. John in Orlando furioso.)
- Cook, Patrick J., "The Epic Chronotype from Ariosto to Spenser," Annali D'Italianistica 12 (1994): 115-41. (Examines the relationship of the Orlando furioso to the texts and categories of epic and romance in the Renaissance and to contemporary scholarship.)
- Fletcher, Jefferson Bulter, "Ariosto," in Literature of the Italian Renaissance, pp. 228-41. New York: Macmillan Company, 1934. (Discusses Ariosto's attitude toward the chivalric world of romance he created.)
- Gough, Melinda J., "‘Her filthy feature open showne’ in Ariosto, Spenser, and Much Ado about Nothing," Studies in English Literature, 1500-1900 39, no. 1 (winter 1999): 41-67. (Discusses Ariosto's tales of Ariodante and Ginevra, in which the beautiful Ginevra is falsely exposed as a whore, and his tale of Ruggiero and Alcina, in which the enchantress Alcina's falseness is exposed, as sources for Duessa in Spenser's Faerie Queene and the subplot involving Hero and Claudio in Shakespeare's Much Ado about Nothing.)
- Javitch, Daniel, "Proclaiming a Classic: The Canonization of Orlando furioso," Princeton University Press, 1991, 205 p. (Considers the interpretation and critical reception that sixteenth-century readers gave to Orlando furioso.)
- Lee, Judith, "Scornful Beauty: A Note on Blake and Ariosto," English Language Notes 23, no. 4 (June 1986): 35-38. (Explores parallels between Orlando furioso and William Blake's Vala, or the Four Zoas.)
- Looney, Dennis, "Recent Trends in Ariosto Criticism: Intricati rami e aer fosco," Modern Philology 88, no. 2 (November 1990): 153-65. (Studies the criticism of Albert Russell Ascoli, Peter V. Marinelli, and Marianne Shapiro to establish the direction of modern critical theories on Orlando furioso.)
- Marcus, Millicent, "Angelica's Loveknots: The Poetics of Requited Desire in Orlando furioso 19 and 23," Philogical Quarterly 72, no. 1 (winter 1993): 33-52. (Considers the many seemingly contradictory forms desire takes in the multilayered Orlando furioso.)
- Masciandaro, Franco, "Ariosto and the Myth of Narcissus: Notes on Orlando's Folly," Studi filologici e letterari in memoria de Danilo Aguzzi-Barbagli: Forum Italicum Supplement, no. 13 (1007): 147-58. (Compares Orlando, as unhappy lover who cannot obtain the object of his desire, to Ovid's Narcissus, arguing that Ariosto relied on Ovid in portraying the frenzied Orlando.)
- Portner, I.A., "A Non-Performance of Il Negromante," Italica 59, no. 4 (winter 1982): 316-29. (Speculates why Ariosto's third play, commissioned by Pope Leo X, was not performed.)
- Quint, David, "The Death of Brandimarte and the Ending of the Orlando furioso," Annali D'Italianistica 12 (1994): 75-85. (Argues that the death of the Christian paladin, Brandimarte, parallels and prefigures the deaths of the poem's double heroes, Ruggiero and Orlando, whose deaths are predicted but do not occur in the Furioso.)
- Quint, David, Introduction to Cinque Canti: Five Cantos, by Ludovico Ariosto, translated by Alexander Sheers and David Quint, pp. 1-44. Berkeley: University of California Press, 1996. (Argues that Cinque Canti is a distinct and important though incomplete work by Ariosto.)
- Rodini, Robert J., "Selected Bibliography of Ariosto Criticism: 1986-1993," Annali d'italianistic 12 (1994): 299-317. (A brief listing of recent Ariosto criticism.)
- Shapiro, Marianne, "Revelation and the Vials of Sanity in the Orlando furioso," Romance Notes 22, no. 1 (fall 1981): 329-34. (An exploration of the role of St. John the Evangelist in Ariosto.)
- Sims, James H., "Orlando furioso in Milton: Heroic Flights and True Heroines," Comparative Literature 49, no. 2 (spring 1997): 128-50. (Examines Ariosto's Orlando furioso as source material for Milton's Paradise Lost and Paradise Regained.)
- Terpening, Ronnie H., "Between Ariosto and Tasso: Lodovico Dolce and the Chivalric Romance," Italian Quarterly 27, no. 103 (winter 1986): 21-37. (Examines the work of late Renaissance poet Ludovico Dolce as a bridge between Ariosto's and Tasso's romances.)
- Verdicchio, Massimo, "Croce Reader of Ariosto (or, of Irony in the Philosophical Sense," Italian Quarterly 35, nos. 135-136 (winter-spring 1998): 39-46. (A clever reading of the meaning of irony for Ariosto and his near contemporaries, this essay argues that one must understand the irony of the Furioso in order to understand its aesthetics.)
- Wooten, John, "From Purgatory to the Paradise of Fools: Dante, Ariosto, and Milton," ELH 49, no. 4 (winter 1982): 741-50. (Reads Milton's Paradise of Fools against the moon fantasy in Ariosto's poem and Dante's Purgatorio and examines parallels and divergences in the works' representations of morality and madness.)
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