The Imitation of Imitations in Orlando Furioso

Bibliographic Data

ID10427936
AuthorsDaniel Javitch (corresponding author)
Year1985
Volume38
Issue2
Pages215-239
Publication date1985-07-01
Open AccessYes
TypeARTICLE
VenueRenaissance Quarterly (JOURNAL)
Journal identifiersISSN: 0034-4338 • E-ISSN: 1935-0236
PublisherUniversity of Chicago Press (PUBLISHER • US)
DOI10.2307/2861663
OpenAlexW2324909684
LanguageEN
Citations received10
References cited5

Recent commentary on poetic imitation in the Renaissance has tended to emphasize competition, to value kinds of imitation that strive to surpass their models, and therefore to disregard or even deprecate modes of imitation that seem to consist of little more than respectful duplications. It has too readily assumed that imitative poets can only achieve originality by defying or somehow asserting their difference from their models. In the following essay I seek to challenge such assumptions by examining the practice of a major Renaissance poet who managed to assert his modern voice through imitatio while refusing to engage in competitive struggle. I do not mean to suggest that Renaissance poets were not given to competitive imitation. For purposes of subsequent contrast it is worth considering rapidly why emulation frequently did characterize the imitative practice of some of these poets

Aesthetics · Art · Art history · Competition (biology · Creativity · Emulation · Imitation · Literature · Originality · Poetry · The Renaissance · Value (mathematics · Computer Science · Psychology · Renaissance and Early Modern Studies · Renaissance Literature and Culture · Social Psychology

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