... incantato, something remarkable happens. For long hours, the enchanted palace of the title—drawn from Ariosto’s Orlando furioso—has kept the 20-odd characters vainly searching for one another, with rarely more than two or three converging at a time. In the penultimate scene, however, the librettist...

... epics from the sixteenth century: Ariosto’s Orlando furioso and Tasso’s Gerusalemme liberata. Characters drawn from these two works directly inspired three equestrian entertainments from the first half of the century, while similar personages and situations appeared...

...This chapter considers Ariosto’s literary career from the dual viewpoints of patronage and the press, contrasting his attitudes to his Estensi patrons in script and print, and examining the various strategies used to ironize apparently straightforward eulogy. It analyses the poet’s presentation...

...This discussion focuses upon the production of editions and translations of Ariosto’s epic poem, the circulation of these texts and the allusions to Ariosto in the early modern, most particularly, the Elizabethan, period. During the course of this essay, attention is paid to early modern European...

...How did Milton read Ariosto? The standard account holds that he admired Orlando Furioso in his youth and dismissed it in his maturity, rejecting chivalric romance in Paradise Lost as ‘the skill of artifice or office mean’. This essay revisits the question. It finds...

...Although Ariosto is often thought of as a literary fantasist, this chapter argues for his oblique political engagement in his romance-epic, Orlando furioso, primarily through the strategic juxtaposition of passages referring to contemporary and historical events with narratives...

... and, on the other, Ariosto's fierce parody thereof in Orlando. Este Alfonso II dʼ Goffredo di Buglione Jerusalem Rinaldo Tancredi Tassian character Tasso Torquato Zatti Sergio Adrasto Argante Babylon Babel Emireno Solimano Tisaferno Urban pope Clorinda Holy Sepulchre Ingegneri...

...This chapter looks into Ronsard’s inspiration from the career of Ludovico Ariosto, an Italian poet, in tracing the evolution of Ronsard’s early style from the forced antiquarianism of his odes to the self-conscious stylization of Les Amours. Ronsard’s obsessive habits of revision...

..., Ludovico Ariosto's Orlando furioso, Torquato Tasso's Gerusalemme liberata, and John Milton's Paradise Lost. Finally, an overview of each chapter is provided. Aeneid Virgil allegorizing readings of epic as defined in this study gods as defined...

...This chapter deals with Orlando furioso by Ludovico Ariosto. Orlando furioso does not abandon divine action of the characteristically epic type, though it infuses epic divine action with both irony and anxiety. There is also plenty of providentialism...

...Chapter 3 considers John Harington’s distinctly Protestant translation of Ludovico Ariosto’s epic romance, Orlando Furioso. It suggests that Harington’s translation gained legitimacy by creating a reading experience that was similar to that of reading the Bible. Like early modern...

...This chapter examines Ludovico Ariosto's Orlando furioso (1532) as an outstanding example of literary grace. It follows the judgement of sixteenth-century literary commentator and polygraph Lodovico Dolce. The chapter first mines Dolce's many commentaries, paratextual notes...

... of the 1596 The Faerie Queene is a choice between two ‘lodwicks’, Spenser's friend and contemporary Lodowick Bryskett, and the ghost of Spenser's long deceased but much admired epic model, Ludovico Ariosto. These two ‘lodwicks’ lend further insight into why the 1596 installment failed...

..., reducing the theme of love to a secondary role and emphasizing the coherence of the theme of war, by creating a major campaign as the backbone of the narrative structure. This is the pattern adopted by Tasso, but it is not the one adopted by any of the poets surveyed in the chapter, nor indeed by Ariosto...

...The immense success of the Italian romance or chivalric epic between the mid-14th century and the 16th century constitutes a striking paradox. The flowering of the genre, between the composition of Boccaccio's Teseida and the Orlando Furioso of Ariosto occurred...

...; but these are rare. However, more usually the poem matches its open setting with correspondingly clear indications of which side people are on. This limits the possibilities for the moral and narrative entanglements in which Ludovico Ariosto so delights: the very geography of Tasso's poem suggests a polarized...

...This book presents a comprehensive view of the epic tradition from Homer, through Virgil, Ariosto, Tasso, Spenser, and the host of minor writers who helped create the idiom within which these writers worked, to the idiom within which these writers worked, to the individual authors in historical...

... Elyot Sir Thomas confession Cicero Gammer Gurton’s Needle enargeia Smith Sir Thomas tokens Erasmus judgment legal sense Nice Wanton Lyndwood William Fleetwood William jurisdiction Yelverton Christopher Heywood Jasper Ariosto Ludovico Judgement of Solomon Garter Thomas bail Bail...

...For five centuries, Ludovico Ariosto’s Orlando furioso has enjoyed the status of literary icon. Traversing space and time, it has traveled within and outside Italy, often in the company of Boiardo’s Orlando innamorato and Tasso’s Gerusalemme liberata...

..., instigator, and victim of tradition. It shows how Chaucer became the first great English writer by translating and adapting a minor poem by Boccaccio. It investigates how Ariosto, Tasso, and Spenser made new epic meanings by playing with assumptions, episodes, and phrases translated from their predecessors...