Abstract
Francesco Berni's treatment of the erotic passages of Boiardo's Orlando innamorato in his Rifacimento has a long history of contradicting interpretations. Early critics such as Girolamo Tiraboschi observed that Berni had added obscenities to Boiardo's poem. Tiraboschi writes: Cosi non ne avesse egli offuscati i pregi co' motti e co' racconti troppo liberi ed empi, che vi ha inseriti.1 So too, the opinion of Giusto Fontanini and of Apostolo Zeno in his notes to Fontanini's Biblioteca.2 Paolo Emiliani-Giudici, however, objects to these judgments, insisting Non solo non ci vedo il menomo innesto di novelle oneste o disoneste, ma posso affermare che egli [Berni] ebbe il lodevole pensiero di mitigare la lascivia di talune pitture del Bojardo.3 He suggests that Berni's accusors had not read the Rifacimento, but had made assumptions about it based on their acquaintance with Berni's Rime. Antonio Virgili, Berni's most thorough and authoritative biographer, reacts similarly:
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