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Updated: June 19, 2025
The Furioso continued not only what Boiardo did, but what he intended to do; for as its subject is Orlando's love, and knight-errantry in general, so its object was to extol the house of Este, and deduce it from its fabulous ancestor Ruggiero.
In his poem he seems to have designedly thrown off the embarrassment of a unity of action. The Orlando Furioso is founded on three principal narratives, distinct but often intermingled; the history of the war between Charlemagne and the Saracens, Orlando's love for Angelica, his madness on hearing of her infidelity, and Ruggiero's attachment to Bradamante.
"You've given up painting?" said Herkimer all at once. "Yes, though that doesn't count," said Rantoul, abruptly; but there was in his voice a different note, something of the restlessness of the old Don Furioso. "Talk to me of the Quarter. Who's at the Café des Lilacs now? They tell me that little Ragin we used to torment so has made some great decorations.
She was giving all her attention to Harry; gay, malicious eyes challenged him to declare himself, mocked him for his modesty, vaunted what she had to give. "Damme, this is madder and madder yet," Hadley broke in. "Who is your Orlando Furioso that's a champion of dames and too haughty to ride in their carriage; that ties up highwaymen and forgets to tell the constable where he left 'em?
I then was in this state of mind; but not knowing how to make use of the Bible to inform me of the moment in which I should recover my liberty, I determined to consult the divine Orlando Furioso, which I had read a hundred times, which I knew by heart, and which was my delight under the Leads. I idolized the genius of Ariosto, and considered him a far better fortune-teller than Virgil.
The Faerie Queene reflects, perhaps, more fully than any other English work, the many-sided literary influences of the Renascence. It was the blossom of a richly composite culture. Its immediate models were Ariosto's Orlando Furioso, the first forty cantos of which were published in 1515, and Tasso's Gerusalemme Liberata, printed in 1581.
"Ben furo avventurosi i cavalieri Ch' erano a quella eta, che nei vallone, Nelle scure spelonche e boschi fieri, Tane di serpi, d'orsi e di leoni, Trovavan quel che nei palazzi altieri Appena or trovar pon giudici buoni; Donne che nella lor piu fresca etade Sien degne di aver titol di beltade." Ariosto, Orlando Furioso, can. xiii. 1.
I am not so presuming, as to think my opinion can either be his touch-stone, or his passport; but, I thought I might send him back to Ariosto, who has made it the business of almost thirty stanza's, in the beginning of the thirty-seventh book of his Orlando Furioso; not only to praise that beautiful part of the creation, but also to make a sharp satire on their enemies; to give mankind their own, and to tell them plainly, that from their envy it proceeds, that the virtue and great actions of women are purposely concealed, and the failings of some few amongst them exposed, with all the aggravating circumstances of malice.
Next, there was a little girl, of about fourteen, who played angels, fairies, and, at a pinch, was very effective as an old woman. Thirdly, there was our free-and-easy cavalier, who, having a loud voice and a manly presence, usually performed the tyrant. He was great in Macbeth, greater in Bombastes Furioso. Fourthly, came this gentleman's wife, a pretty, slatternish woman, much painted.
The court was turned from an earthly paradise into the blackest hell, and ruin overtook the Moro and the whole realm of Milan, as the poet of the house of Este sang in his Orlando Furioso "Come ella poi lascer
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