Talking Religion: The Conversion of Agricane in Boiardo’s &lt;i&gt;Orlando innamorato&lt;/i&gt;
Jo Ann Cavallo
Talking Religion: The Conversion of Agricane in Boiardo’s Orlando innamorato Jo Ann Cavallo (bio) Agricane’s final dialogue with under a starry night sky is one the few episodes from routinely included Italian literature anthologies. Despite its status as “l’episodio forse più noto di tutto il poema boiardesco”, however, it has not received much critical attention.1 By taking account scene’s literary precedents and historical allusions, I aim to offer new reading eleventh-hour conversion. attempt convert ‘pagans’ was commonplace Carolingian narratives familiar early readers. Following pattern established Entrée d’Espagne, often incorporated debates over relative merits Christianity Islam.2 precedent most cited connection Innamorato’s conversion found an rewriting d’Espagne known Spagna rima.3 That still anonymous work begins Charlemagne calling for Crusade against Muslim Spain pope granting plenary indulgences those who fight “la fè ria”.4 When [End Page S178] Spanish king Marsilio learns his messenger that “diffidò ciascun el qual non crede / Yehsù Cristo Padre omnipotente”, he calls on Ferraù lead defense city Lazera.5 ensuing confrontation between keeps religious difference at forefront. Initially assures mother future conquest Rome entire West: E Roma ne la caxa san Piero, su l’altar mangierà mio ferante. La legie Iesù sença pensiero abatuta serà, e Trivicante Apolin Machon serà altiero come signor da Ponente Levante.6 Although turn exhorts forsake false beliefs true religion—“Deh, rinega tua vile vana torna Cristo, omnipotente!”—Ferraù adamantly refuses Orlando’s demand reiterates superiority own faith.7 In battle which warfare alternates sermonizing, poet repeatedly portrays knights representatives two opposing belief systems bitterly fought contest dominion earth. this context Ferraù’s ultimate defeat convinces him religion no value: “Vegio che val nulla paganesmo”.8 scene concludes mortally wounded receiving baptism hands Orlando. Agricane, developed direct contrast traditional patterns Spagna. Whereas poem are depicted fighting solely “per cristïana et per fella”, Innamorato warriors cross swords woman.9 Indeed, does give any indication aware identity opponent beyond fact Christian, himself evinces complete indifference religion. He never mentions Mohammad, only S179] time invokes higher authority, rather cryptically refers “segnore” Trivigante (OI 1:14.53), name given by medieval Christians pagan deity unknown origin came be associated Islam. narrator frequently Tartar, but Saracen. Riccardo Bruscagli, recognizing Boiardo refashions episode “in una chiave integralmente cortese paradigmaticamente distanziata dai contenuti ideologici religiosi della Spagna” writes: è significativo, proprio pensando alla al suo codice epico-religioso, fede cristiana appaia nella conversazione notturna […] rivendicazione perfetta compatibilità fra ‘cultura’ ed esercizio delle armi cavalleresche, credenza teologica o distintiva ideologia.10 Given distance takes ostensible model, Daniela Delcorno Branca observes some episode’s features Matter France, Breton cycle: solitary duel, fountain, darkness conversation jealous rivals lady’s...
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