Orlando Furioso

Ludovico Ariosto (1474–1533), translated by William Stewart Rose · 1823

Mostly iambic pentameter · 38,895 lines in 46 sections

Ariosto's romance epic of Charlemagne's paladins, in ottava rima like the original.

What this poem is

Orlando furioso (Italian pronunciation: [orˈlando fuˈrjoːzo, -so]; The Frenzy of Orlando) is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its complete form until 1532. Orlando furioso is a continuation of Matteo Maria Boiardo's unfinished romance Orlando innamorato (Orlando in Love, published posthumously in 1495). In its historical setting and characters, it shares some features with the Old French La Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a chivalric romance which stemmed from a tradition beginning in the Late Middle Ages and continuing in popularity in the 16th century and well into the 17th.

Orlando is the Christian knight known in French and English as Roland. The story takes place against the background of the war between Charlemagne's Christian paladins and the Saracen army that has invaded Europe and is attempting to overthrow the Christian empire. The poem is about knights and ladies, war and love, and the romantic ideal of chivalry. It mixes realism and fantasy, humor and tragedy. The stage is the entire world, plus a trip to the Moon. The large cast of characters features Christians and Saracens, soldiers and sorcerers, and fantastic creatures including a gigantic sea monster called the Orc and a flying horse called the hippogriff. Many themes are interwoven in its complicated episodic structure, but the most important are the paladin Orlando's unrequited love for the pagan princess Angelica, which drives him mad; the love between the female Christian warrior Bradamante and the Saracen Ruggiero, who are supposed to be the ancestors of Ariosto's patrons, the House of Este of Ferrara; and the war between Christian and Infidel.

The poem is divided into forty-six cantos which contain a varying number of eight-line stanzas in ottava rima (a rhyme scheme of abababcc). Ottava rima had been used in previous Italian romantic epics, including Luigi Pulci's Morgante and Boiardo's Orlando Innamorato. Ariosto's work is 38,736 lines long in total, making it one of the longest poems in European literature.

Ariosto began working on the poem around 1506, when he was 32. The first edition of the poem, in 40 cantos, was published in Ferrara in April 1516 and dedicated to the poet's patron Ippolito d'Este. A second edition appeared in 1521 with minor revisions.

Adapted from the Wikipedia article “Orlando Furioso” (revision 1373901018), used under CC BY-SA 4.0. Laurel's own notes and measurements are not from Wikipedia.

Measured across the book

Across its 38,895 lines, 95% of stressed syllables fall on the beat (95% interval 95% to 95%). Alliteration runs at 1.07 times what shuffling the words would give (0.33 observed against 0.31 expected). 8% of the lines have a feminine ending.

Baselines and intervals are described in the methods.

Contents

Canto Iiambic pentameter · ABABABCC · 656 linesCanto IIiambic pentameter · ABABABCC · 616 linesCanto IIIiambic pentameter · ABABABCC · 624 linesCanto IViambic pentameter · ABABABCC · 584 linesCanto Viambic pentameter · ABABABCC · 744 linesCanto VIiambic pentameter · ABABABCC · 647 linesCanto VIIiambic pentameter · ABABABCC · 648 linesCanto VIIIiambic pentameter · ABABABCC · 727 linesCanto IXiambic pentameter · ABABABCC · 760 linesCanto Xiambic pentameter · ABABABCC · 928 linesCanto XIiambic pentameter · ABABABCC · 672 linesCanto XIIiambic pentameter · ABABABCC · 760 linesCanto XIIIiambic pentameter · ABABABCC · 671 linesCanto XIViambic pentameter · ABABABCC · 1079 linesCanto XViambic pentameter · ABABABCC · 847 linesCanto XVIiambic pentameter · ABABABCC · 718 linesCanto XVIIiambic pentameter · ABABABCC · 1080 linesCanto XVIIIiambic pentameter · ABABABCC · 1544 linesCanto XIXiambic pentameter · ABABABCC · 871 linesCanto XXiambic pentameter · ABABABCC · 1159 linesCanto XXIiambic pentameter · ABABABCC · 584 linesCanto XXIIiambic pentameter · ABABABCC · 792 linesCanto XXIIIiambic pentameter · ABABABCC · 1096 linesCanto XXIViambic pentameter · ABABABCC · 928 linesCanto XXViambic pentameter · ABABABCC · 745 linesCanto XXVIiambic pentameter · ABABABCC · 1104 linesCanto XXVIIiambic pentameter · ABABABCC · 1127 linesCanto XXVIIIiambic pentameter · ABABABCC · 705 linesCanto XXIXiambic pentameter · ABABABCC · 600 linesCanto XXXiambic pentameter · ABABABCC · 767 linesCanto XXXIiambic pentameter · ABABABCC · 887 linesCanto XXXIIiambic pentameter · ABABABCC · 888 linesCanto XXXIIIiambic pentameter · ABABABCC · 1031 linesCanto XXXIViambic pentameter · ABABABCC · 744 linesCanto XXXViambic pentameter · ABABABCC · 640 linesCanto XXXVIiambic pentameter · ABABABCC · 680 linesCanto XXXVIIiambic pentameter · ABABABCC · 983 linesCanto XXXVIIIiambic pentameter · ABABABCC · 727 linesCanto XXXIXiambic pentameter · ABABABCC · 696 linesCanto XLiambic pentameter · ABABABCC · 664 linesCanto XLIiambic pentameter · ABABABCC · 824 linesCanto XLIIiambic pentameter · ABABABCC · 839 linesCanto XLIIIiambic pentameter · ABABABCC · 1597 linesCanto XLIViambic pentameter · ABABABCC · 840 linesCanto XLViambic pentameter · ABABABCC · 944 linesCanto XLVIiambic pentameter · ABABABCC · 1128 lines

About this text

Public domain. Text from Orlando Furioso, Project Gutenberg ebook #615. Free to read, print, copy and reuse.

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