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exaggerated caricature. Chivalry is not laughed at, the material is dominated [and form is given to a subject which appears false to our modern perception, but the sincerity of the poem is evident and the poetry is felt.
Additionally, Orlando " does not merely offer us sketches but entire complex series of original and finished pictures. Pictures full of form and movement, from a harmonious chivalric world, alive through a thousand stories, deeds and episodes all strung together on one thread — heroism — sense of honour — the spirit of adventure and the passion of love.
This thread throughout the film is what we would call in the language of the Cinema " montage ".
You would seek vainly, said de Sanctis, in Anosto's poem, for a unity conforming to the old rules of Aristotle and Horace (We may show our teeth at these two real enemies of the Cinema).
If you wish to see " Orlando " with modern eyes, traditional literary and dramatic criticisms must go by the board and with them the pretended necessity for unity of action and the whole idea of an absurd dramatic construction in which the secondary episodes must be grouped off symetrically around the principal subject.
The adaptation of " Orlando " for the Cinema or theatre would indeed be a task if it proposed to reduce Agramante's enterprise to a logical and well ordered sequence of action.
Paris is far off.
Charlemagne and the christian ideal which he personifies appear only occasionally and are not taken too seriously.
Most important are the novelty of the episodes and the extraordinary number of marvellous and surprising deeds. The Cinematic ideal is founded more upon a sense of the marvellous than upon comic accent.
The narrative of the poem is not incoherent, illogical, or helter-skelter, it is simply " surrealist ". The number of fine threads which are woven together beneath the gaze of the spectator are all held firmly in the poet's hand and his fantasy creates reality.
The existence of a framework and an ideal plot in the poem is not be doubted, but it is all so paradoxically and minutely composed, scenes are interrupted in the most amazing manner but this does not upset the reader who is enchanted by the quiet succession of images.
A keen curiosity is stimulated by the constant succession of novel deeds, alternatly serious and burlesque in character, sometimes passionate, sometimes