Furious Orlando

Title: Furious Orlando. (Furious)→ Mad.)

Ludovico Ariosto

Narrative in verse (octava real) 16th century.

Orlando→ Roldán

Genealogical and courtly character.

Chivalric combats

Importance of navigation→Brings unpredictability (storms).

Importance to the wonder (Go to the dark side of the moon with Elijah's chariot where
find with John the presbyter (possibly the apostle Saint John) to seek the things
that are lost like the trial of Orlando, for example).

Importance of magic (presence of both good and unfavorable wizards).

Medieval narrative

Forms: history, epic, and romance.

Romance is the preferred form (the story and the epic are 'romancing' by adding
stories of love, adventures, wonder...)

The novella (greater importance in the Renaissance).

Ariosto takes well-known novellas and includes them within the plot of his characters.

The tradition of the argument:

Song of Roland

Diffusion across Europe: Chanson de geste of Roncesvalles, Castilian romances, poems

franco-Italians.

The poetic form:

Development of the hendecasyllable

Sweet New Style

Dante: Divine Comedy

Petrarch

Boccaccio: Ninfale Fiesolano with the invention of the stanza 'ottava rima' and 'octava
real" (8 eleven-syllable lines, ABABABCC)

-Model of Virgil, recovered by the humanists.

-Spain (anonymous), mid-15th century.

-Morgante by Luigi Pulci, 1478 (Includes satirical elements)

Orlando in love with Mateo Boiardo, 1483-1495 (remains unfinished, the furious would be the
second part of this work, hence we shorten it as 'The Furious' because The Orlando can
to refer to both interchangeably.

Orlando Furioso by Ludovico Ariosto, 1516-1532.

They include a prior summary of each chapter in the form of an octava real.

-1549→ Spanish translation.

-1602 Romance of Angelica and Medoro by Góngora.

After the Furious

Imitations and continuations:

The Tears of Angelica by Luis Barahona de Soto (1586)

The Beauty of Angelica by Lope de Vega (1602)

The Bernardo or the Victory of Roncesvalles by Bernardo de Balbuena (1624)

Orlando Furioso, opera by Antonio Vivaldi (1713-1727)

-Orlando, opera by Georg Fr. Händel (1733)

Alcina, opera by Georg Fr. Händel (1735)

Search for a more epic and Virgilian poem:

Historical material

Political sense

Moral model

Distinguish novel (poems inspired by The Furious or Roldán, more chivalric) from
the epic (more closely imitates the model of Virgil, more contemporary and with greater moral value).

The Araucana by Alonso de Ercilla (1569-1589)

The Lusiads by Luis de Camoens (1572)

Jerusalem Delivered by Torquato Tasso (1581-1584)

Paradise Lost by John Milton (1667-1674)

The tradition continues in the 18th century. In the 19th, the satirical orientation predominates: Don Juan
by Lord Byron, The World Devil by José de Espronceda.
Selection of songs (XVIII, XIX, XXIII)→What must be read

Angelica and Medoro→ War between Carlos's army and the Saracens. Medoro is a
a knight, a nobody, who falls wounded, Angélica heals him and falls in love with him (they write their
loves on the bark of the trees.

Orlando goes crazy→ How Orlando falls into madness.

Cantos XXVII and XXIX

Agramante Field→ Camp of Agramante (Saracen king) where an event occurs

series of misunderstandings among his men.

Despair of Rodomonte→ Rodomonte, the most terrible Saracen warrior, gets angry and
it.

Rodomonte and Isabella→Isabella, the widow of Zerbino, encounters Rodomonte, continues.

in love with him but Rodomonte falls in love with Isabella.

DAY 2. FURIOUS ORLANDO.

Song 23.

The madness of Orlando:

Joined with Angélica

Development of the internal monologue

It shows us part of their personality, how by feeling passionately, they also suffer passionately.

-1 He tries to deceive himself: seeing the verses he believes that Medoro is a name that
Angélica would use to talk about him and then someone imitates Angélica's lyrics, but little
little falls in what was said.

Canto 27.

Chaotic singing. The expression 'Agramante's field' is created to refer to a situation.

disorganized.

They are attacking Charles's field, which is weak because it lacks the main ones.
Paladins. The Christians take refuge in Paris.

It refers to an earlier moment when Christians ask God to take to the

Archangel Saint Michael and may he bring them silence and discord to the Saracens. Now Saint
Miguel finds Discord in a monastery, he hits her and Discord goes towards him.
Saracen band.

A conflict begins between the Saracens in the field and Marfisa. Having conflicts
crossed, Agramante tries to maintain calm and as he cannot achieve it, he engages in a fight
organized.
When they are dressing Mandricardo and about to put Orlando's sword on him, Gradaso says
that is their sword and then they have to fight among themselves for the weapons they are going to use.

While they are dealing with the sword problem, another fight begins between Rodomonte and
Sacripante, for the horse. Marfisa appears demanding the horse.

Agramante appears to stop the conflict between Rodomonte and Mandricardo over Doralice.
And King Agramante says that she should decide. In this way, Doralice chooses Mandicardo.
And Rodomonte leaves the camp and curses the women.

Rodomonte encounters Isabella with a cleric.

Chant 29.

Rodomonte arrives at a church where he encounters a penitent, whom he kills because

It is annoying. Isabella, who has sworn to remain chaste and who is afraid of being attacked by
Rodomonte says that he is going to create a potion that will make him invincible for the test, first she and then

he tells Rodomonte to hit him to test the potion, he does so and decapitates her.

God protects all women named Isabela to be intelligent, beautiful... with this
he praises the character and one of the patrons of the author.

Upon the death of the lady, Rodomonte decides to build a tomb next to a tower at the
that can only be accessed by crossing a very thin bridge that can only fit a horse.
For a while, any horseman trying to cross the bridge is attacked by
Rodomonte. One day, Orlando appears on the bridge, and they both
they face each other in a violent battle, ultimately both falling into the river and
managing to get out with more or less difficulty. That whole battle is observed by the beautiful
Flordelís, who is looking for her lover Brandimarte. She manages to cross the bridge without
problems and finds nothing in the tomb.

We return then to Orlando and we are told about the craziness he has committed during that time.
Walking in the Pyrenees, you encounter two young people on a donkey on a path.
They shout for him to get off the road and Orlando, furious, hits the donkey. One of the men
driven by fear, he lets himself fall over a cliff, landing on some bushes and
saving himself. The other man tries to escape but Orlando catches him and kills him. Going down towards
Tarragona is at a beach with Angélica and her husband. Orlando tries to attack.
Angélica (who doesn't recognize him because he is covered in sand) is chasing her but
Medoro hits him. Orlando then attacks the steed and Angelica, dead with fear, takes her...
magic ring and with it he manages to disappear (Later appearing on the sand). Orlando
In the face of Angélica's disappearance, he falls into a greater madness and flees with the mare.
She tries to jump off a cliff, which causes the mare to break a leg, as she cannot
walking Orlando places her on his shoulders and when he gets tired he drags her on the ground until
that finally death comes to the mare and still not everything, Orlando continues dragging her.
We leave the gentleman like this.

In Orlando Furioso, the relationship between him and Angelica is not resolved; in the 16th century, writings are produced.
continuations.

WE READ TEXTS SIMILAR TO THE DEATH OF ISABELLA.

We read in ADI a document called Lydus and Barbaro

Joannes Lydus writes the Book on the Months

A book about the traditions and festivals of various places. The story of Dadastana is
gathered in legends of the East (Syria, Egypt, Turkey…)
2. Barbaro On the Subject of Wives

Possibly the one that inspired Ariosto.

Add names even though the story remains very simple and brief.

Ariosto:

Add a lot of weight to religion.

Perhaps try to be more realistic by including, for example, that Rodomonte is drunk and therefore
hit with the sword.

Much greater development of the characters since it is not a standalone episode.

We know Isabella's reason is to maintain marital fidelity to Zerbino, her.

deceased husband. It's not so much about chastity but fidelity. After dying, ascend to the third heaven.
(inspired by the Divine Comedy, which was organized in the orbital planes of the moon,
orbit of Mars and orbit of Venus: sky of the lovers.

We read Jack London's The Mocked in Adi, we skipped the first 3 pages. We started
last paragraph page 3

Story of a fur trapper in Alaska who is mistreating the indigenous people.

come.

The motivation has changed: it is no longer honor but to avoid torture.

He asks things from Makamuk not to ridicule him but to make him believe, his requests are increasing.
What makes them believe that their medicine is very good? It certainly increases the likelihood.
he strikes with the axe because he truly believes that medicine works. Also
thanks to the superior knowledge of the fur sellers.

Likewise, when dying, there is not so much a sense of respect but a greater feeling of
shame.
It is a public act that increases the boss's shame while in the rest it was an act
intimate almost.

In the first stories, they were simply a scene in which we have little development.
of the characters.

In Ariosto's story, the trajectory of the characters is seen, both their past and how it will go.
continue your story.

This episode is also in the context of the Polish (in the early pages that we have not...
read). The Marseillaise connects with its revolutionary past and adds to the sense of the ridiculous of the
history.

EXAM:

The exam has 3 parts:

-Two parts are of historical-literary information centered on readings. As far as we know.

What have the readings been, when were they written (the exact year is not necessary but the century is)?
and if it is the first or second half), who is the author, the language in which it was written.

-Questions about class theory regarding gender (epic, romances... some

data, how it is constructed, what is before and after the Decameron, the novella...). In 2 or 3
lines.

Personal reflection on the readings. It proposes a series of themes that are common to
various readings (love, for example) and asks how the theme of
love in the works we have read. (For example, love in Cretien and in Orlando or what
sea). There are several questions like 5 or 6 and they are answered to 2 or 3 more or less.