Orlando furioso PDF Ê Paperback


  • Paperback
  • 656 pages
  • Orlando furioso
  • Ludovico Ariosto
  • English
  • 09 October 2016
  • 9780192836779

10 thoughts on “Orlando furioso

  1. J.G. Keely J.G. Keely says:

    Perhaps it speaks to the age I live in than that of the author but I'm always surprised to find a reasonable rational mind on the other end of the pen Though Ariosto's unusual work is full of prejudice and idealism it is constantly shifting so that now one side seems right and now the other His use of hyperbole and oxymoron prefigures the great metaphysical poets and like them these are tools of his rhetoric and satire Every knight is 'undefeatable' every woman 'shames all others by her virtue' and it does not escape Ariosto that making all of them remarkable only makes obvious the fact that none of them areAriosto's style flies on wings lilting here and there darting soaring He makes extensive use of metafiction both addressing the audience by means of a semi fictionalized narrator and by philosophical explorations of the art of poetry itself and the nature of the poet and his patronAs with most epics Ariosto's asides to the greatness of his patron are as jarring as any 30 second spot His relationship to his various patrons was extremely difficult for him he was paid a mere pittance and constantly drawn away from his writing to deliver bad news to the pope if you're thinking that's a bad job Ariosto would agree the See nearly had him killed This is likely the reason that these moments of praise fall to the same unbelievable hyperbole as the rest His patrons could hardly be angry at him for constantly praising them but his readers will surely be able to recognize that his greatest compliments are the most backhanded and merely serve to throw into stark contrast the hypocrisy of man tell me a man is great once and I will believe you tell me five times and I'll start to think you're covering for somethingSince we will all be oblivious hypocrites at some point for most of us nearly all the time the only useful defense is finding the humility to admit our flaws Great men never have it so easy they cannot accept their mistakes but must instead be buried by themThough Ariosto often lands on the side of the Christians his Muslims are mighty honorable well spoken and just as unreasonable in their faith The only thing which seems to separate the two sides is their petty suabbling Likewise he takes a surprisingly liberal view of sex and gender euality with lady knights who are not only the match for any man but who need no marriage to make them whole they are women with or without a man beside them He even presents homosexuality amongst both sexes though with a rather light handHis epic is not the stalwartly serious sort like Homer Virgil or Dante Ariosto is a humanist and has none of the fetters of nationalism or religious idealism to keep him chained His view of man is a contrary shifting absurd thing The greatest achievements of man are great only in the eyes of manBy showing both sides of a conflict by supporting each in turn Ariosto creates a space for the author to inhabit He is not tied to some system of beliefs but to observation to recognition not to the ostensible truth of humanity but to our continuing storyAriosto took a great leap from Petrarch's self awareness while Petrarch constantly searched and argued in his poems he found a sublime comfort in the grand unknown Ariosto is the great iconoclast not only asking why of the most obvious conflicts but of the grandest assumptions The universal mystery is only as sacred as it is profaneAriosto is also funny surprising and highly imaginative Though his work is defined by its philosophical view this view is developed slowly and carefully It is never stated outright but is rather the medium of the story a thin elegant skein which draws together all characters and conflictsThe surface of the story itself is a light hearted impossible comedy It is no impossible than the grand heights of any other epic but only seems so because it is not girt tightly with high minded seriousness Perhaps Ariosto's greatest gift is that he is doing essentially the same thing all the other epic authors do the same situations and characters but he makes you laugh to see itTo be able to look at life simply as it is and laugh is the only freedom we will ever know It is all wisdom For this gift I hail fair Ariosto the greatest of all epicists all poets all writers all wits all humanists all men never to be surpassed


  2. Lizzy Lizzy says:

    I read Orlando Furioso many years ago but I still remember the good feeling as I went through Ludovico Ariosto's pages A fantastic and unusual parody of chivalry “Nature made him and then broke the mold” “Ah how I rue that what I could have done I did not do” Highly recommended


  3. Fionnuala Fionnuala says:

    In this sixteenth year of the twenty first century and only just a few days ago a tree fell in my garden I didn't see the tree fall but the tremendous thump as it hit the ground and the shocked silence of the birds afterwards caused me to drop the book I was reading and run to see if a giant wasn't attacking my houseThere was no giant of course only the weeping willow roots in the air branches bent to the ground bowing towards the sun A moving sightThe book I was reading when the willow bowed out was Italo Calvino’s twentieth century abridged version of Ludovico Ariosto’s sixteenth century saga Orlando Furioso which is a continuation of Mateo Boiardo's fifteenth century unfinished work Orlando Innamorato itself based on the legends surrounding the christian knights of Charlemagne’s eight century French court and King Arthur’s fifth century kingdom who variously possess the armour and attributes of Trojan heroes from the second century before our eraSo this book offers the reader uite a trip through time since Ariosto cites many events across the centuries often connecting the episodes of his saga to current happenings in sixteenth century Italy eight centuries after Orlando’s time as well as to events in Troy than eight centuries beforeThe book also takes the reader across the ‘mappemonde’ of the known world from Cathay to Iceland via India and Africa Not only is Ariosto's story peopled with characters from all of those places but some of the heroes get to travel to such exciting locations as the moon and even heaven itself They travel in ships and by air thanks to a magical hippogriff and on horses born already saddled and bridled But all the travel depends ultimately on the power of Ariosto’s very creative uill and his penchant for using metaphor He makes us believe that the medieval world resembled nothing so much as a giant chess boardI would like to have been able to read Ariosto’s poem in Italian instead of in a prose translation but the version I read was so entertainingly abridged by Italo Calvino and so perfectly complimented by my copy of nineteenth century Gustave Doré's Illustrations for Orlando Furioso that the reading was a truly memorable experienceIt's true that sometimes I wanted Calvino to restrict himself to commentary and not summarise every episode but at other times because of the number of characters and the similarity of their many adventures I was grateful for his neat summaries though I’d have preferred his summaries and commentary to follow Ariosto’s texts rather than to precede them But as I've said Calvino was so funny at times that I forgave him a lot To give an example in Ariosto's text there's a passage where the Saracen knight Ruggiero hears his lover's name mentioned Ariosto launches into a long description of how Ruggiero's face displayed all the shades with which the dawn colours the morning sky or words to that effect Calvino simply says Ruggiero went as red as a field of tomatoesIn any case due to this ‘double telling’ of the episodes in Ariosto's poem I had plenty of leisure to notice the many themes that inspired Cervantes in the seventeenth century to continue Ariosto’s satire of knights rescuing damsels in distress and to ponder the complicated rules of chivalry in general There were so many parallels including the main character losing his wits that I almost regretted not having read this book before I met Don uixote but my motto is ‘Nullus ploratio’ Of the many characters in Orlando Furioso one of my favourites was Astolpho the coolest of cool knights Astolpho can trap the south wind in a wine skin in order to allow an army to cross the desert unimpeded by a sandstorm and he thinks nothing of returning to earth after having witnessed the splendours of heaven or of journeying to the moon in search of Orlando’s 'lost reason’view spoiler hide spoiler


  4. Το Άθχημο γατί του θενιόρ Γκουαναμίρου Το Άθχημο γατί του θενιόρ Γκουαναμίρου says:

    This poem is about the siege of Paris by the Mauritanians and the Saracens Christian King Charlemagne has to confront the African Agramand and his Mauritanian allies who come from Spain But this is not the only theme that dominates the poet's narrativeLove is the greatest force that drives the threads of history The main characters and many of the secondary who make their way through the narrative are in love and have to go through many ordeals in order to gain a moment of happiness It is an epic dedicated to love Ah false and cruel Fortune foul despiteWhile others triumph I am drown'd in woeAnd can it be that I such treasure slight?And can I then my very life forego?No let me die; 'twere happiness aboveA longer life if I must cease to love CANTO 1 XLIVΟ κεντρικός άξονας του έργου αφορά στην πολιορκία του Παρισιού από τους Μαυριτανούς και τους Σαρακηνούς Ο χριστιανός βασιλιάς Καρλομάγνος έχει να αντιμετωπίσει τον Αφρικανό Αγκραμάντ και τους Μαυριτανούς συμμάχους του που έρχονται από την Ισπανία Δεν είναι όμως αυτό το μόνο θέμα που κυριαρχεί στη διήγηση του ποιητή Ο έρωτας είναι η μεγαλύτερη και πανταχού παρούσα δύναμη που κινεί τα νήματα της ιστορίας Οι βασικοί χαρακτήρες του έργου και πολλοί από τους δευτερεύοντες που κάνουν το πέρασμά τους μέσα στην αφήγηση είναι ερωτευμένοι και υποχρεωμένοι να ξεπεράσουν πολλές δοκιμασίες προκειμένου να κερδίζουν μια στιγμή ευτυχίας Πρόκειται για ένα έπος αφιερωμένο στον έρωτα και είναι ένας ύμνος για τη δύναμη της αγάπης αλλά και για τις πίκρες και τις απογοητεύσεις που αυτή συνεπάγεται Μπορεί το έργο να αναφέρει τον ιππότη Ορλάνδο στον τίτλο του αποτελεί άλλωστε συνέχεια ενός προγενέστερου ποίηματος το Orlando Innamorato Ερωτευμένος Ορλάνδος του Ματτέο Μπογιάρντο Matteo Boiardo 1495 και πράγματι εξιστορεί τα γεγονότα που οδήγησαν τον ήρωα στην τρέλα ωστόσο πάνω από όλες τις διηγήσεις στέκει η εξιστόρηση της αγάπης ανάμεσα στην ωραία χριστιανή ιππότισσα Μπρανταμάντε με τον Σαρακηνό πολεμιστή Ρουτζέρο τους οποίους ο Αριόστο τοποθετεί μέσα από ένα μυθικό γενεαλογικό δέντρο ως γενάρχες του προστάτη του Ιππόλυτου ντ΄Έστε της Φερράρας Ο ποιητής έχει να διαχειριστεί και να ενσωματώσει στο έργο ένα τεράστιο υλικό απο τα γαλλικά Chanson de geste μεσαιωνικά ποιήματα και από αντίστοιχες διηγήσεις και μύθους του Αρθουριανού Κύκλου Το καταφέρνει με τρόπο μοναδικό με μία τεχνική που εξασφαλίζει μια απαράμιλλη ισορροπία που κρατά το ενδιαφέρον του αναγνώστη ζωντανό ως τον τελευταίο στίχο δεδομένου πως πρόκειται για 46 cantos με τουλάχιστον 100 συχνά και περισσότερες στροφές το καθένα τα οποία ο ποιητής επεξεργαζόταν για πάνω από τριάντα χρόνια Όπως ο καλός μουσικός που αλλάζει συχνά χορδή και ποικίλλει τους ήχους ψάχνοντας πότε τον βαρύ πότε τον οξύ ήχο ο Αριόστο εναλλάσσει τους τόνους της αφήγησης περνώντας εναλλάξ από το ηρωικό στο καθημερινό από το κωμικό στο ελεγειακό από το υπεφυσικό στο ρεαλιστικό Για να φτάσει σε αυτό το αποτέλεσμα ο συγγραφέας δε διστάζει να διακόψει ένα επεισόδιο για να συνεχίσει ένα προηγούμενο ή να εισαγάγει ένα καινούργιο Η ελευθερία με την οποία διακόπτει ή επαναλαμβάνει του επιτρέπει να κρατά την προσοχή του αναγνώστη σε εγρήγορη Πραγματώνει έτσι μία λεπτή ισορροπία μεταξύ της αφηγηματικής πλοκής και της ρυθμικής αρμονίας Ιστορία της Ευρωπαϊκής Λογοτεχνίας τ Α' εκδ Σοκόλη σελ 413Η διήγηση του Αριόστο είναι γεμάτη από μυθικά πλάσματα Ανθρωποφάγα Ορκ ιππογρύπες μάγους και μάγισσες γητεμένες αρματωσιές πηγές κάστρα δαχτυλίδια αρχαίες θεότητες που συνυπάρχουν παράλληλα με τους αγγέλους και τα πνεύματα της χριστιανικής θρησκείας τον ευαγγελιστή Ιωάννη την κόλαση και τον παράδεισο Όλα αυτά συνδυάζονται με περιπέτειες στα πέρατα του κόσμου ακόμα και ένα ταξίδι στο φεγγάρι πολεμικές αναμετρήσεις ερωτικές συνευρέσεις και στοχασμούς επάνω στη ζωή και τα ανθρώπινα πράγματα Το χιούμορ του ποιητή και η ειρωνική του διάθεση αναδεικνύονται με τον ιδανικότερο τρόπο στη μετάφραση του David R Slavitt Ο οποίος παραλείπει ολόκληρα cantos ειδικά στο δεύτερο μισό του έργου στερώντας έτσι από τον αναγνώστη πολλές ενδιαφέρουσες υποδιηγήσεις τις οποίες υποχρεώθηκα να διαβάσω από την παλαιότερη μετάφραση του William Stewart Rose η οποία είναι υπέροχη αλλά παρωχημένη Η επιτομή ωστόσο του Slavitt διαθέτει μια γλώσσα ολοζώντανη και πολλούς εμβόλιμους σχολιασμούς ποιητική αδεία του μεταφραστή που δίνουν μια εξαιρετική φρεσκάδα και επικαιρότητα στο κείμενο χωρίς να αλλοιώνουν κατά την άποψή μου το ιταλικό πρωτότυπο Ένας καλός και αγαπημένος μου φίλος και μέγας βιβλιοδίφης ο Γιώργος Σκαγιάκος shout out με βοήθησε στην αναζήτησή μου για μια ελληνική μετάφραση Η μοναδική που κυκλοφόρησε ποτέ έως σήμερα στα ελληνικά είναι μια παλαιότατη έκδοση του 19ου αιώνα Από τους τρεις τόμους μονάχα ο ένας σώζεται οι άλλοι άραγε είναι πλέον οριστικά χαμένοι; στην πανέμορφη βιβλιοθήκη του Κέντρου Μικρασιατικών Σπουδών στην Πλάκα Πρόκειται για μια πεζή μετάφραση του Γεωργίου Δ Λαμπίση δημοσιευμένη στα 1852 στην Σμύρνη από τον εκδότη Αντ Πατρίκιο Πήγα να δω το βιβλίο ένα μικρό διαμαντάκι που κράτησα στα χέρια μου με ιδιαίτερη συγκίνηση και μου επέτρεψαν να βγάλω κάποιες φωτογραφίες για να τις μοιραστώ μαζί σας Η ανάγνωση αυτού του έργου αποτέλεσε για εμένα μια μοναδική αναγνωστική εμπειρία Υπήρχαν στιγμές που δυσκολευόμουν να το αφήσω από τα χέρια μου τόσο μεγάλη ήταν η περιέργειά μου και η αγωνία μου για να δω τί θα γίνει παρακάτω Αν δεν είχε 46 αλλά 100 cantos είμαι σίγουρη πως και πάλι δεν θα έχανα το ενδιαφέρον μου καθώς η πένα του Αριόστο είναι μοναδική Ένα έργο που αποτέλεσε σταθμό στην ιστορία της παγκόσμιας λογοτεχνίας που ενέπνευσε πολλούς άλλους σπουδαίους λογοτέχνες από τον Θερβάντες έως τον Μπόρχες που πετυχαίνει να ενσωματώσει με τρόπο μοναδικό πολλές και διαφορετικές εκδοχές του κόσμου που ζούμε και όλων εκείνων των μαγικών βασιλείων που ακόμα και σήμερα συνεχίζουν να υπάρχουν μέσα στη φαντασία και τις καρδιές των ανθρώπων


  5. Alan Alan says:

    Not sure about this translation; I read it in Sir John Harington's 1591 assigned to him by the the First Elizabeth for his witty account of his invention the water closet or water jakes the Metamorphosis of Ajax pron a Jakes The Elizabethan Brits called a toilet by a French name whereas the French called it a John Foreign names to imply the lower life of foreigners I've also read maybe 30 pp in Italian ottava rima in iambic hendecasyllables not the Latin hendecasyllables Catullus wrote with three long syllables to start like the White throated Sparrow Charlemagne sends Rinaldo to England this French and English melding first done by Boiardo in Orlando Inamorato which Ariosto's poem extends Rinaldo was never unwilling to follow his orders but because Charlemagne commanded he crossed the English Channel from Calesso Calais Contra la voluntà di ogni nocchiero pel gran desir che di tornare avea entrò nel mar ch'era turbato e fiero e gran procella minaciar parea Il Vento sdegnò che da altiero sprezzar si vide; e con tempesta rea sollevò il mar intorno e con tal rabbia che gli mandò a bagnar sino alla gabbia Garzanti 1980 Canto 3 p41Against the will of any helmsman who most wanted to turn to port he left the harbor on a turbulent sea that a perfect storm menaced The disdainful wind that spurned them haughty with anger bathed the ship up to the lookout on the mast When Rinaldo gets to England he meets Merlin and a woman magus who tells of his progenitors from Troy down referring to Ugo duke of Milan in 1021 who ended the reign of the Insubri there they a Lepontic people speaking a Celtic language I'm amused since our English Sheepdog born in Italy and named there was Ugo Later in Canto 3 we learn in a footnote that Rinaldo dies avvelenato poisoned Before that a great survey of feudal history like Frederico Barbarossa and Ezzelino da Romano Ezzelino immanissimo tiranno che sia creduto figlio del demonio farà troncando i sudditi tal danno e distruggendo il bel paese ausonio che pietosi apo che lui stati saranno Mario Silla Neron Caio ed Antonio E Frederico imperator secondo sia per uesto Azzo rotto e messo al fondo63Such a tyrant called son of the devil cutting down his subjects and destroying the beautiful Ausonian lands unworthy successor to by Sulla Nero Caligula and Antony Ariosto's plot is too complex for me but I find him often witty esp in his satires and his verse complex than Tasso's partly because multi syllable words fitted into the same meter and stanza So I have not read it all except in translation By the way Orlando Furioso ends with how the story will continue in the next canto al'altro canto io parlo It's unfinished only 21 cantos of a projected 24 Just as Edmund Spenser's Fairie ueene is only half finished as I recall six books out of twelve though Spenser may have even once thought 24 like both Ariosto and Tasso But I have read entirely in Italian Ariosto's Satire e Lettere Einaudi 1976Ricciardi 1954 This was when I visited his Castello in Garfagnana over the mountains from Carrara in the 90s A foto of me at his Castello features online for those who google Alan Powers and on my habitableworlds website Ariosto was the military governor of Garfagnana which he called uesta fossa this ditch It's beautiful but it was the home of dozens of brigands outlaws Ariosto as military commander for the Duke of Ferrara had maybe forty troops half of them horse which he points out in a satire maybe #2 to his brother are useless in the mountain rocks He was also plagued by desertions from his troops and by the geo political fact of three contiguous rulersI seem to recall I have always preferred Ariosto's wit to Tasso's seriousness writing in the same ottava rima later in the same century 16th But now in retirement perusing Gerusalemme Liberata I'm impressed with Tasso's ease writing in hendecasyllables In the third canto Goffredo tells his troops Già non si deve a te doglia né pianto ché se mori nel mondo in Ciel rinasci p93 Einaudi 1993They should ready for battle unburdened by dying because if they were to die they'll be reborn in Heaven This good Christian counsel and incidentally why Rome began converting to Christianity under Emperor Constantine the Christian armies fought to the death not fearing it


  6. Matthew Matthew says:

    I am in love with this book and I have no idea why everybody isn't reading it all the time It is a massively fun tale dealing with the exploits of the knights of Charlemagne It moves incredibly uickly seamlessly weaves together dozens of terrific stories and gives the reader all the fulfillment one could wish for in an adventure novel Lots of battles and intrigue and sorcerers and giants and mistaken identities and flying steeds and magic and all of that good fantasy stuff and it was written in the 16th century so you get to enjoy the fact that you're learning a little about the people and ideas of former times and exposing yourself to a classic Also the women in this book aren't a bunch of helpless or overly virtuous props for the men Two of the baddest ass knights in the story are women who go around saving all of the male characters and the Saracen princess Angelica who everybody loves does a lot of outmanoevering the several knights who are constantly in pursuit of her Then Orlando goes completely insane from unreuited love and starts all sorts of gruesome wholesale killing while the paladin Astolpho travels to the moon with the Apostle John to fetch back Orlando's lost wits Then all sorts of other wonderful crazy crap happens and you should definitely read the book to find out about it Sir Walter Scott Voltiare and Byron all compared Ariosto to Homer favoring the former and I'd much rather read him than any modern fantasy writerNote on the translation I'm very pleased that the translator of the Oxford World Classics edition Guido Waldman decided to render this book in prose rather than trying to emulate the octava rima scheme of the original epic poem Perhaps the fact that a prose version has only been available for a couple of decades is what has been responsible for this book's neglect in the English speaking world Meanwhile it's a testament to Ariosto's skill that not a single stanza seems to contain an extra line or extraneous detail I can barely imagine how anybody could write something so tight under the imposition of a poetic schema I don't think Pushkin or Dante or Chaucer or Virgil was so successful


  7. Debbie Zapata Debbie Zapata says:

    A few years ago when I read Irving Stone's amazing work The Agony And The Ecstasy about the life of Michelangelo the poet Ludovico Ariosto was mentioned somewhere as being a dinner guest of the Pope of the day With my typical curiosity I wondered if Ariosto was a real person he was; what did he write Orlando Furioso for one; and could I find a copy of the work at my favorite online library Project Gutenberg yep It took a few years to get to to the top of my Someday List but I did finally start reading Orlando and at first I was completely enchanted with it Knights in shining armor damsels in distress monsters magic rings swords with names horses with personality plenty of wizards both evil and good lots of action It was all very exciting and nearly always readable Allow me to uote from the wiki article about this poet The poem a continuation of Matteo Maria Boiardo's Orlando Innamorato describes the adventures of Charlemagne Orlando and the Franks as they battle against the Saracens with diversions into many sideplots Ariosto composed the poem in the ottava rima rhyme scheme and introduced narrative commentary throughout the workAriosto also coined the term humanism in Italian umanesimo for choosing to focus upon the strengths and potential of humanity rather than only upon its role as subordinate to God This led to Renaissance humanismBefore I began Furioso I read what I could find about Boiardo's poem so I knew a little bit what to expect That 'ottava rima rhyme scheme' meant that each stanxa had eight lines with a specific rhyming pattern that was easy to read and never fell into that horrid thumpety thump sound that many poems force me into Here is an example To good Rogero here was brought a steedPuissant and nimble all of sorel hue;Who was caparisoned with costly weedBroidered with gold and jewels bright to viewThat other winged horse which at his needObedient to the Moorish wizard flewThe friendly damsels to a youth consignedWho led him at a slower pace behindOrlando Innamorato was left unfinished at the time of Boiardo's death in 1494 Furioso was published in 1516 and translated for this edition by William Stewart Rose who worked on the epic project from 1823 to 1831 So there were lots of interesting archaic words to look up like that puissant which turned out to mean powerful My dictionary website and I became very good friends while I was reading this poemNow for the 'but' Even though I was at first captivated and interested and couldn't wait to find out what happened to our many various heroes there were a few things that finally defeated me completely All those 'sideplots' for one thing We would just get to the decisive moment in this or that fight and Ariosto would say 'Oh but now we must leave so and so and go witness what became of whosit remember we left him doing thus and so' By Canto 19 of nearly 50 I was so lost I could barely remember who was so and so and who was whositAnd at some point I realized that Orlando himself had not been mentioned in ages The sideplots triggered other sideplots and every damsel in distress had to tell her tale of woe to whichever knight found her which meant sideplots There were several times when Ariosto commented that he hoped he would be able to take up all the different threads of his tale and tie them off properly If the poet himself worries about such a thing how can the reader expect to be able to follow anything?Well I finished 18 cantos and my notes show that I was still fascinated except that I was beginning to wonder about Orlando and I had to skim a bunch of stanzas that sung the praises of the poet's patron's ancestors He wove this type of thing into the story many times but I was getting tired of that by this point I had also begun to skim or skip the first few stanzas of each Canto where Ariosto would speak directly to his patron before getting back to the story I think I would have detested being a poet or artist in the Renaissance period Without a powerful patron they could do nothing and yet with the patron they had to glorify egos rather than be as creative as they might have wanted to be So annoyance was already settling in and then came The Break I probably should not have started reading this work just one week before our yearly five day trip to Teotihuacan I knew it was a long piece and that I would not be able to finish it before we left but I did not expect to come home with absolutely no interest in the poem at all I tried to get back into it but it was impossible I may try again someday the remaining dozens of cantos and their hundreds of stanzas will always be readily available at Gutenberg after all But for now I have to give up on our hero Orlando and leave him Furioso never knowing if he ever managed to be Innamorato again I wavered between 2 and 3 stars I did like many parts of this but overall for me it was just okay when I think carefully about it all Maybe Someday when if I can actually finish the rest of the poem the rating will change


  8. Jo Walton Jo Walton says:

    I read this version after giving up on two different verse translationsSo Orlando Furioso is a very strange thing It's a seuel to a book called Orlando Inamorata by Tasso and it has one of the horrible flaws of fanfic that it assumes you're already deeply invested in these characters and that when it is revealed to you that gasp the character is Rinaldo in disguise you'll be all excited And this would be a real payoff for somebody who cares about Rinaldo but if you've started reading here and you barely know who he is well it's just confusing So it starts in media res and not only that but it has many many characters and it doesn't stay with any character for very long If you think late volumes of Robert Jordan are bad they're nothing to Orlando Furioso Ariosto was a Renaissance poet a client of the D'Este family This is important and kind of hilarious because although this poem is set at the time of Charlemagne he keeps on dragging the D'Estes into everything There's even one point where some characters have the tent of Hector from Troy embroidered by Cassandra with designs showing the life of Cardinal Ippolito D'Este I laughed out loudHaving said this the reason I gave this book a third try and persevered past the points where I'd given up before was because Beatrice and Isabella D'Este wrote about it in their letters and were at one point seeking champions to fight a duel about whether Rinaldo or Ruggiero was better I'm sorry to say I agree with Isabella Ruggiero all the way But Voltaire was insane to say that the bit with Armida and Rinaldo is better than the bit of the Odyssey with Circe I love Voltaire and I'd defend to the death his right to make this ridiculous claim but he's absolutely and utterly wrong about thisThere are a lot of characters Most of them are paladins Some of them are Saracen paladins Some are Europeans Some of the Saracens are good guys Religion isn't actually very significant compared to important things like who has what sword and what device on their shield Two of the paladins are women Marfisa and Bradamant There are also damsels most memorably Isabel and Angelica There's a hippogriff There are magic weapons lots of prophets sorcerers and sorceresses and trips to hell and heaven What you have to do is keep reading even if it is no fun and about half way through people will start to meet up again and everything will make sense and it will become enjoyable I genuinely enjoyed reading the second half but the first half was grim determination not to let this thing defeat me again and a desire to see what the heck it was that got everyone so excited about itI think it's impossible to see that reading it in translation because I think a lot of what is so great about it is the actual Italian poetry It's very easy to describe Orlando Furioso in a way that makes it seem hilarious and either much better or much worse than it isFor instance my absolute favourite bit is a venture into allegory where St Michael literally beats up Discord who he finds wasting her time in a monastery instead of in the Saracen camp where he sent her There's also a hilarious bit where a princess falls in love with Bradamant who is disguised as a man Bradamant has to reveal her gender to get away The princess is very sad Then Bradamant meets her identical twin brother yes I know who disguises himself as Bradamant disguise is very easy for everyone because it consists of changing the device on your shield and goes back to the princess saying I met a fairy in the wood and look what she gave me It was definitely an influence on Spencer's Faerie ueenOrlando Furioso has no real plot no consistent worldbuilding and only very sketchy characters I did come to care about the characters even if I spent most of the book saying Astolfo is the one with the magic horn right? Maugis huh have I seen him before? Some of it is definitely funny and it's undoubtedly full of incident In the end I'm glad I've read it not just glad I've finished it though I am that but glad I've read it


  9. Mark Mark says:

    If I told you that you should read an early sixteenth century Italian verse epic whose primary themes are courtly love and chivalry would you do it? What if I told you there's a new translation which abridges the massive original to a mere 700 pages? Too good to be true?I know what you're thinking uh yawn cough cough maybe I'll get to that when I can't use my legs any Thanks anywayBut what if I told you it's one of the funniest most rollicking adventures ever written with astounding feats of derring do and psychological insights so sly and accurate that you can only marvel at them? What if I told you that the breezy tone and author's wit make you feel like you're in the company of an ideal fantasy Renaissance court enjoying the best that Italy has ever had to offer?Well I am telling youThe translator's obvious joy in the humor comes through in the elasticity of the meter which he's ready and willing to sacrifice whenever a just right but too long or too short English word perfectly expresses a joke Sometimes serious but never earnest this adventure is both a celebration and a send up of courtly traditions and it can be read in long sittings or stolen moments with eual enjoymentWhat are you waiting for?


  10. Geoff Geoff says:

    My brother got me a hardcover 1st of the new translation of the Furioso for Xmas hell yes bro


Leave a Reply

Your email address will not be published. Required fields are marked *

Orlando furioso[Reading] ➼ Orlando furioso By Ludovico Ariosto – Natus-physiotherapy.co.uk The only unabridged prose translation of Ariosto's Orlando Furioso a witty parody of the chivalric legends of Charlemagne and the Saracen invasion of France this version faithfully recaptures the enti The only unabridged prose translation of Ariosto's Orlando furioso a witty parody of the chivalric legends of Charlemagne and the Saracen invasion of France this version faithfully recaptures the entire narrative and the subtle meanings behind it.


About the Author: Ludovico Ariosto

Ludovico Ariosto was an Italian poet He is best known as the author of the romance epic Orlando Furioso The poem a continuation of Matteo Maria Boiardo's Orlando Innamorato describes the adventures of Charlemagne Orlando and the Franks as they battle against the Saracens with diversions into many side plots Ariosto composed the poem in the ottava rima rhyme scheme and introduced narr.