My kind of Orlando

click for summary of poem

From “Taking Liberties,” a review of David R. Slavitt’s new translation of Orlando Furioso, by David B. Hart in Commonweal. 137.13 (July 16, 2010)

During the high Middle Ages, poems written on the “Matter of France”–that is, tales of the paladins of Charlemagne and of Count Roland (or Orlando) in particular–were among Europe’s most beloved literary entertainments… once the Carolingian theme had been stated [The Song of Roland], the variations that followed…departed ever further from the original story’s stern simplicity, and came to incorporate ever more fabulous elements: impossible feats, mythical beasts, magical objects, and superhuman foes.

In the end, the whole tradition culminated in the three great Orlando “romances” of the Italian Renaissance: Luigi Pulci’s Morgante (1478-83), Matteo Boiardo’s Orlando Innamorato (finished 1486, published 1494), and Ludovico Ariosto’s Orlando Furioso (1516-32). These are, without question, among the wildest fictions in European literature. They are “epics,” perhaps, but are every bit as defiant of the classical unities (not only of time and place, but of tone and texture) as the dramas of England and Spain’s Golden Age theaters. Their stories spill across the entire known world, to say nothing of faerie, hell, and the moon. They recount sieges, military engagements, and single combat, but also tell of giants, sprites, sorcerers, sea monsters, magic gardens, and hidden kingdoms. They lurch convulsively–though somehow quite nimbly–from the hilarious to the tragic to the mystical.

Once upon a time, moreover, they were widely read … Now, however, they gather dust in those shadowy galleries where the Western canon’s most rarely visited monuments are kept. This is a pity. Modern readers may not have much patience for long verse narratives, but these works are anything but forbidding; they can be enjoyed by anyone with an imagination and a sense of humor. Yet Pulci and Boiardo are scarcely remembered today outside Italy. Only Ariosto lingers on in the consciousness of educated persons, and then generally only as an important name.

. . .  Exactly what [Orlando Furioso] is about is difficult to pin down, but this hardly matters. The narrative takes up the various stories begun in the Innamorato, but left unfinished at the time of Boiardo’s death: the infatuation of Orlando with the beautiful sorceress Angelica, daughter of the King of Cathay, and Orlando’s pursuit of her across Europe and into the Far East; the siege of Paris by the Moors; the adventures of Ruggiero, mythical founder of the House of Este (of which both Boiardo and Ariosto were clients); the rampages of the evil Moorish King of Sarza, Rodomonte; and a number of other plot lines. The principal pleasure of the poem as a whole lies in the ingenuity with which Ariosto weaves the tales together in ever more outlandish and intricate complications–and then manages to resolve them all in a single moment of dramatic finality.

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Monty Python? -click for source

Fantasy Land

4 Responses to My kind of Orlando

  1. Man of Roma says:

    Curiously enough, I am now into Edmund Spenser’s Faerie Qveene, that seems to owe a lot to Ariosto. It is also interesting that while reading it I find all the marvels one finds in Ariosto, the tone is quite different, serious, mystical and Christian, as different can Ovid (Ariosto) and Vergil (Spenser) be.

    From the introduction to my book of Spenser’s works I read that while “most Elizabethans turned chiefly to Ovid, Spenser was more vitally affected by the finer art of Vergil”. He also was into mystical Plato (Symosium, Phaedo, Phaedrus) and into the Italian neoplatonism of Ficino etc.

    Another thing I read in the introduction: some English scholars believe Spenser totally misunderstood Ariosto and took seriously what in Ariosto was fun, joke, irony. Others instead believe he did it on purpose. Spenser didn’t misunderstand Ariosto, he just expressed is deepest feelings into poetry. I believe the latter to make more sense. But I have to read on.

    • Lichanos says:

      Never read Faerie Queen – maybe put it on the list after Orlando. I’m almost through with Part I of II. Are you reading it in English? Bravo to you, if so. Can’t be easy for you since it isn’t for a native speaker! Interesting connection between the two writers, much discussed in stuff I’ve read about Orlando.

      I have never read anything like Orlando – it is vastly entertaining! I enjoy the genuine homages to Homer and epic style it sometimes displays as well as the lighter fare. The drive of the narrative, the pace is absolutely dizzying, but the characters are firm and impressive.

      The historical structure – written in 1500’s about semi-mythical events of 800 recounted in medieval romantic ballads, etc. etc. is fascinating.

  2. Man of Roma says:

    Are you reading it in English? Bravo to you,

    I know English better than you know Italian it seems lol. Yes, I read it in the original and it is not that difficult.

    I am glad you like Orlando Furioso, a great work. Spenser is also first class and a total surprise.

    • Lichanos says:

      Are you familiar with the Clerici edition of Orlando, linked to the duelling knights above? I was tempted to buy it…or at least go look at it in the store!

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