The humanistic epic
Despite a chaotic journey, Ludovico Ariosto earned this flattering renown very early on in life. Born on 8th September 1474 in Reggio to a fort-commander father, the poet expressed his inclination for literature from an early age, abandoning his law studies to take up humanities. He would compose his first Latin verses at the age of twenty. His vocation for the arts, however, was soon to be thwarted by the premature death of his father. Ariosto was effectively forced to abandon his studies and enter the service of Cardinal Ippolito d’Este to become the guardian of his ten younger brothers and sisters. His dreams of a literary career became increasingly distant as he faced the need to carve out a none-too-artistic career as fort commander, followed by the more Romanesque yet just as demanding post of Head of Diplomatic Missions. And yet, despite the burden of his duties, Ariosto was able to compose his first comedy, La Cassaria, which was performed in Ferrara in 1508. From 1507 onwards, he would begin work on his greatest creation, Orlando furioso, conceived as a sequel to Boiardo’s Orlando innamorato. By working relentlessly in the time stolen from his professional duties and his clandestine liaisons with Alessandra Benucci, wife of Tito Strozzi, the poet was able to publish the first edition of his lengthy poem in 1516. No sooner had the book been published than Ariosto began to re-work it, leading to a second edition that was published in 1521. The last edition appeared in 1532, the year in which Titian immortalised Ariosto in his famous portrait. The poet died one year later in Ferrara.
The masterful Orlando furioso that he left is by far the most prized element of his artistic production. With this collection of forty-six cantos in rhyming stanzas, Ariosto fashioned a new poetic universe, combining narrative, humour and ethics in the confines of history and the fantastic. Beneath the fairy stucco of the fantastic fresco, beyond the heroic feats and sword wounds, concealed amongst the impassioned love stories and the floods of tears, the poem conveyed a moral and sociological message. The poem encompasses the humanistic ethics of the Renaissance age; a profound sociology of an era, of its values and morals, but also of its roots and its outlook. The historical context of the fierce rivalry between Charlemagne and Agramante, King of the Saracens, was merely a fantastic pretext chosen by the poet to convey his message. In narrating the destiny of Orlando, the protagonist of his tale, Ariosto used images and sounds to speak of the fragility of humanity.
The characters of the fable
At the heart of this epic poem stands the character of Orlando, the courageous nephew of Charlemagne, and a knight consumed by his love for the false-hearted Angelica, daughter of Galafron, king of Cathay. On his journey around the world in search of this impossible love, he meets a multitude of characters, some more important than others. From this crowd of faces, sometimes with finely chiselled features, at other times simple sketches, Orlando’s three faithful supporters stand out. Firstly, Astolfo, an English knight, son of King Otto and cousin of our hero. He passes through the gates of Hell, imprisons the Harpies, and flies to the moon to find the lost reason of his cousin, delicately wrapped up in a phial. Then we have Bradamante, a Christian amazon, daughter of Aymon and sister of Rinaldo. She is in love with Ruggiero, descendant of Astyanax, and founds the Este dynasty with him. As a counterpart to such bravery, menacing, cowardly and treacherous figures abound. Not least, Rodomonte, king of Algiers, the “terrible and fearful Mars of Africa” who devastates Paris. Or Alcina, sister of the fairies Morgana and Logistilla, who took an island from Logistilla to set up an enchanted kingdom there. And Medoro, Dardinel’s handsome soldier, Orlando’s successful rival for the heart of Angelica. And many, many more, who all find their individual places in this spiritual, entertaining and enlightening fable.
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