Ludovico Ariosto’s La Lena (1528/1529) constitutes both a textual and scenic overhauling of Plautine theatrical models; the spirit which pervades its articulation is innovative, satirical and probing of its real-life targets. The play is probably the most accomplished example of the Commedia erudita, and yet it is here, differently to the more positive and politically motivated pronouncements of the Orlando furioso, that Ariosto problemtatizes contemporary Ferrara, from its Court-run civic officials to the lowliest of citizens. This paper will address Ariosto’s radical treatment of setting and interrogate the ‘real-symbolic square’ (Zorzi et al) to suggest that his square is transformed into a polysemous space, thus becoming the ultimate comic city. The paper will also chart the trajectory of Ariosto’s changing dramatic art from La Cassaria to Il Negromante in terms of its dialogue with Ferrara in order to detail the process of this transformed city-space in La Lena.