Ariosto addresses an underlying battle between reason and lust in Orlando Furioso, similar to the clash between duty and desires in Vergil’s Aeneid, yet opposite in interpretation. Vergil presents the message that duty overpowers desires, while Ariosto shows the opposite effect when he equates reason, rules, and authority with duty, and love, passion, and lust with desire. The “mettlesome charger” represents Lust that will not stop fighting to obtain its goals and cannot be gently coerced from its direction. Reason rarely overcomes Lust after it is set into action; once it is “tasted” it cannot be forgotten. Bradamant is torn between lust and reason when she must choose between her desires for Ruggiero and her filial duties. Aymon and Beatrice represent authority, thus set the tone for reason; but Rinaldo, Bradamant, and Ruggiero challenge their supremacy. Ariosto ultimately questions the validity of authoritative reason since Bradamant must thwart filial duty and pursue her own passions to fulfill her destiny.
When Rinaldo promises Bradamant’s hand to Ruggiero in marriage, controversy surfaces. Rinaldo feels indebted to Ruggiero for his great deeds, which include saving the lives of Richardet, Maugis, and Vivian. Rinaldo has only good intentions in mind when he takes a stand, and “[he] truly [believes] that Aymon [will] be pleased to contract such a kinship.” (44.11) However, his prediction proves false; Aymon angrily receives the news. Not only does he have plans of his own for Bradamant’s future, he is enraged that Rinaldo “[dares] to marry off his daughter without consulting him” (44.36). Aymon prefers to give Bradamant’s hand to Constantine’s son Leo because he has the grea…
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…duty expressed through Merlin’s prophecy. Following the reason of authority, this goal would never have been met, however, relying on the reason of the heart, it is. Ariosto suggests that rules are refined rather than broken when they are not followed, because the authority, which sets them into play, can be less valid than the passions driving the “counter” action.
The student may wish to begin the paper with the quote below:
“A mettlesome charger will often suffer himself to be reined in from a gallop however gentle the hand on the rein. Seldom however, will the bridle of Reason check rabid Lust once it scents its quarry. It is like a bear: there is no distracting him from the honey once he has sniffed at it or tasted a drop left in the jar.” (Canto 11.1)
Works Cited
Ariosto. Orlando Furioso. Trans. Waldman. New York: Oxford University Press, 1983
Orlando Furioso Clarifies Vergil’s Ending in The Aeneid
Orlando Furioso Clarifies Vergil’s Ending in The Aeneid
Ariosto adapts and transforms Vergil’s final episode of The Aeneid into his own conclusion in Orlando Furioso. The final scenes in the epics parallel one another in many ways, yet also show distinct differences. Ruggiero and Rodomont represent Aeneas and Turnus, respectively, and the actions of Ariosto’s characters can be interchanged with their corresponding characters’ acts in The Aeneid. Ariosto reminds us of controversy and questions that Vergil elicits in his conclusion and responds interpretively, reshaping the ending and clarifying ambiguities.
Does Vergil intend to write such an abrupt, controversial ending? Some critics suggest that Vergil meant to complete the story with a more upbeat, joyous tone, but he died before he completed task. They propose a Book XIII that incorporates a large ceremonial marriage between Aeneas and Lavinia into the story as a “happy” ending. Others insinuate that Vergil purposefully concludes the heroic poem to leave questions for readers. Ariosto incorporates a vast, joyful wedding between Ruggiero and Bradamant into his novel before mimicking Vergil’s ending; he argues that Vergil intended to end where he did. Even though we often yearn to read a “happy” ending, an abrupt, controversial ending provokes more contemplation. Ariosto suggests that Vergil planned to arouse his readers’ minds, and not satisfy their common desire for a “happy” ending, by introducing discord.
Does Turnus pose a threat? From one point of view, Aeneas seems to always have the military upper hand, and Turnus seems physically inferior, thus not threatening. However, from a different perspective Turnus is deceptive, thus menacing. When he thinks h…
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…this act to remind us how brutal Aeneas is when he kills without hesitation.
Ariosto addresses the multiple ambiguities Vergil leaves behind. He indicates that a “happy” ending is not always required to please readers and transforms Vergil’s controversial ending into a straightforward conclusion by adapting Rodomont’s character to Turnus and Ruggiero’s character to Aeneas. When the hero’s foe poses a threat and proves capable of defending himself, we do not feel sorry for his death because the hero obviously must kill to defend his own life. We find comfort in Vergil’s ending by superimposing these interpretations and corrections by Ariosto into The Aeneid.
Works Cited
Waldman, Guido, trans. Orlando Furioso. By Ludovico Ariosto. New York: Oxford University Press, 1983.
Fitzgerald, Robert, trans. The Aeneid. By Vergil. New York: Random House, 1983.