Abstract
ABSTRACT Much like its source, Ludovico Ariosto’s Orlando Furioso, the opera Roland by Philippe Quinault and Jean-Baptiste Lully has been met with scepticism regarding its structure. In particular, recent criticism has focused on its bifurcated plot as a monstrous feature. This article reframes this issue by proposing that Roland’s bifurcated structure reflects Ariosto’s synchronic narrative. It shows how current misconceptions of Roland are indebted to the Furioso’s literary reception. Roland’s distinctive structure is a reflection of the changing French aesthetics concerning verisimilitude and the unity of time. The article demonstrates the influence of Ariosto’s narrative practices on the opera’s dramaturgy and structure, showing that fidelity to Ariosto’s narrative implied making unorthodox choices when crafting theatrical adaptations of his poem. It is suggested that Quinault and Lully manipulated the idiosyncrasy of the source to suit their dramatic end—to illustrate the irreconcilable gulf between love and duty.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
