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There are plenty of other equally egregious examples. Slavittâs narrator is often condescending to his reader even when he praises him: for instance, when he closes a stanza with âGet it? Got it?, Good!â (29.73) and when he addresses the reader in the lines âSamson begs / to be mentioned at least. Go to the head of the class / if youâve thought of him and the jawbone of the assâ (14.47). (Only the reference to Comparative Literature 62:4 © 2010 by University of Oregon BOOK REVIEWS / 421 Samson, not the address to the reader, comes from Ariosto.) The narrator repeatedly fears that his reader may have been inattentive: âYou do remember the plot?â (2.11). He also likes to demean his characters. The troops that flee from Mandricardo in the siege of Paris become âall these useless yeggsâ (14.47); the terrifying reappearance of Rodomonte in the last canto prompts the narrator to express the thoughts of the crowd at the wedding of Ruggiero and Bradamante by asking âWhat is he, some kind of nut?â (46.104); and Olympiaâs breasts are said to be âsnowy white, like cheeses on displayâ (11.67). The narrator is often crudely salacious: for example,
Comparative Literature – Duke University Press
Published: Jan 1, 2010
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