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Despite the difficulty of examining isolated cantos in Orlando Furioso and thus separating the text from the overall narrative structure, there are features present in Canto X which would encourage just such an approach. In addition to the borrowings from the Latin tradition to be found in the episode of Olimpia and the allegorical machine at work in the story of Ruggiero and Alcina, the canto evinces a consonance with the courtier spirit which was particularly active in the courts of Northern Italy and which went beyond a mere attention to heraldry and emblems. There is indeed a continuity with the figurative arts flourishing in Ferrara at the time, which saw Mantegna's antiquarian and sculpturesque works triumphed over by Titian's mythological paintings. So too with Ariosto, who after his initial "classicist" phase came to be inspired by Titian's work in a move that openly affirmed the originality and strength of his poetry.

Questo articolo illustra il contributo fornito da Marco Praloran allo studio della temporalità romanzesca. In particolare, ne mette in luce tre aspetti: la stretta connessione istituita tra le rappresentazioni narrative del tempo e dello spazio (in un racconto il divenire è sempre discontinuo e circoscritto), l’importanza della trattazione propriamente linguistica (la temporalità narrativa prende sempre forma attraverso un particolare uso dei tempi verbali) e il coinvolgimento entro l’analisi della temporalità narrativa dell’ordine cognitivo della comprensione, che si realizza nell’atto della lettura.