Tag Archive | chivalry

Orlando Furioso, Canto IV

I made the comment on twitter that I am glad I skipped the introduction because I fear it would’ve tried to make me think this was a book to be taken seriously. A Dante’s The Divine Comedy, instead of what it actually is: a 16th century run of Avengers comics. The whole thing reads like Ariosto took all the legends and epics he knew and mashed them into one continuity Crisis on Infinite Earths style. And I’m here for it.

Plus it’s really good bedtime reading.

Last canto we ended with Bradamante meeting Brunello. Surprisingly in this Canto we stay with them. The crashing that ended Canto III turns out to be the necromancer flying by on his winged horse.

“Sometimes high up among the stars he flies

At other times close to the ground he’ll skim,

And any lovely woman whom he spies

He snatches up and carries off with him.”

Bradamante and Brunello agree to join forces and travel together to the necromancer’s castle. Both have their own reasons to want Ruggiero freed. Surprising me again, nothing happens to them on the road and after about three dozen lines of hill and dale climbing descriptions, the pair come to in sight of the necromancer’s castle. Promptly, Bradamante attacks and defeats Brunello, stealing the magic ring he carries. However, contrary to the enchantress’s advice Bradamante doesn’t kill Brunello but leaves him tied to a tree. She then goes on to the necromancer’s castle and blows her horn in challenge.

“Not long the man of sorcery delayed

When he had heard the challenge of the horn.

On his winged horse, towards the warrior Maid,

Whom he believes to be a man, he’s borne.

A word here about our necromancer: it’s hard not to read him in science-fictional terms as someone from an advanced tech civilization living on a primitive world. He has a winged “horse” that makes a loud booming roar when it flies, access to magic items (a shield that shoots a stunning light and a book he uses to conjure weapons), and he lives in a towering castle made of steel. I’ve read Gene Wolfe. I’ve played Numenera. I recognize this guy.

“His shield in a vermilion cloth was draped.

In his right hand he held an open book,

Whence marvelous phenomena he shaped:

A lance which hurtled through the air and took

His adversary by surprise, who gaped

At nothingness, with an astonished look;

Or with a dagger or a club he smote

From far away, by a control remote.”

By a control remote. . .

You can’t fool me Ariosto! This ain’t no wizard. This is a traveler from the far future fighting with a stun ray and nanite swarm. There’s also something, something about his horse.

Bradamante and the necromancer fight, and the necromancer enjoys himself, drawing the duel out to get his cruel kicks. Bradamante however feigns being worse off than she is, and when she swoons before the stun ray she does so while completely unscathed. But the necromancer doesn’t know this and goes to claim his prize when Bradamante leaps upon him and strikes the magic book from his hand. She quickly subdues him and claims his gear as her own, then gets ready to chop off his head only to realize he’s a withered old man. He’s like kill me already, and she’s like no. You need to tell me why you’re kidnapping knights. And he’s like I kidnapped the knights to keep Ruggiero company. And Bradamante’s like why are you keeping Ruggiero captive? And the guy is like because if Ruggiero becomes a Christian he’ll die. He also says his name’s Atlante. Bradamante commands him to open his prisons and PLONK, out come a host of knights and their horses.

There’s Gradasso, Sacripante, Prasildo, and Iroldo, all people I assume had their own comic books in the 16th century. At last, there’s Ruggiero. And there’s much gladness when he sees Bradamante – but Atlante escapes and takes his steel castle with him. The winged horse however stays behind and all the knights try to catch it. It flies in little hops, first here, then there, all the while it’s being controlled by an invisible Atlante. At last the horse lands in front of Ruggiero, and he climbs astride it. At which point, Atlante launches the horse straight into the sky. Atlante hasn’t given up on his mission yet.

And then Ariosto does a scene change…

When last we left Rinaldo he was on a boat making for England and the waves were high and all looked lost, but it actually wasn’t that bad. They land and Ariosto’s Britain is a chivalric hellscape of Arthuriana where the never ending clash of arms echoes through the forests. All of which sounds great to Rinaldo who sets off at once to seek adventure. Staying one night at a monastery he learns how the local king has condemned his daughter to death because she slept with her boyfriend, and Rinaldo is like you’re king’s an ass. He then gives some sex positivity discourse on how it’s no big deal that a damsel gave her lover solace in her bed. Long story short, Rinaldo sets out to rescue the princess. And promptly assists another damsel in distress being attacked by ruffians.

How did she end up here? Well, that’s what Canto V will attempt to make clear.

Until next time! May your sword stay sharp!

Orlando Furioso, Canto III


Did you know that Ariosto was sponsored by the D’Este family? 

Do you know who the ancestors of the D’Este family were? 

Turns out they were Bradamante, that lady knight of great virtue, and Ruggierro, that guy knight of great virtue. But wait you say, aren’t they on opposite sides of this war between Christian and Saracen? Why yes, that’s true. They are on opposite sides of the war, but they have destinies, and one of them is to get married, found the D’Este family, more to Ferrara, and make it the best place on Earth to live, or at least so says Ludovico Aristo, native of Ferrara and proud supporter of the D’Este family. 

And that’s this canto. 

Pinabel suspects Bradamante is still alive and decides he should vacate the premises. He does so, but not before stealing Bradamante’s horse. Bradamante survives her fall and discovers a door in the cave. This door leads to a bigger, better cave of finely crafted columns. In the center is an altar with a lamp burning on it, and the sight of this makes Bradamante kneel and pray. A sorceress appears and starts talking. The sorceress knows many things. For one she knew she and Bradamante were destined to meet. She also knows the cave was built by Merlin and serves as his tomb, since it was here that the Lady of the Lake betrayed him (???), and it’s here in this cave that his spirit will forever dwell until Judgment Day. She says Merlin’s spirit still talks and that’s why she was here, to get some magical advice. Merlin’s spirit then appears to say hey, and the sorceress offers to conjure a vision of all Bradamante’s heirs. 

Here are the wiki pages for the House of Este and the Dukes of Ferrara. If they lived before the 16th century Ariosto mentions them. It’s like that bit in the Iliad where Homer lists all the boats and who was on which so his audience can be like “That guy came from my hometown!” Except it’s more ass-kissy.  

D’Este propaganda concluded, the sorceress escorts Bradamante out of the mountains towards the Castle of Steel (where Ruggierro is imprisoned). The way is hard and to pass the time the sorceress tells Bradamante how to defeat the necromancer who lives in the castle. This is the knight on the flying horse from Canto II who has that shield that knocks people out with laser beams or something. However, there is a ring and it can defeat the necromancer. This ring protects the wearer from enchantment and all evil spells. 

And where is this ring? It’s currently in the possession of an awful man named Brunello. 

Brunello (as we’d know from the first Orlando book that we didn’t read) is a master thief employed by Agrimante the King of Africa. Brunello is also a dwarf and very ugly. Agrimante wants Ruggierro freed because he’s the greatest knight in the African army. To that end he gave Brunello the magic ring and the mission to bring back Ruggierro. Now what Bradamante needs to do is meet Brunello at a nearby lodging, keep him away from her wallet, and join him in this mission, then, according to the enchantress, when they reach the castle Bradamante should kill Brunello and steal the ring. Sounds like a plan, so the two women part company. Bradamante rushes on to the hostel and meets Brunello. The two don’t trust each other and it looks like they won’t join forces at which point a mighty uproar smites the ear. Its cause? 

Maybe Aristo will tell us in the next canto.      

Or maybe we’ll be off to some other knight having a bad time of it.

I look forward to finding out.  

Orlando Furioso, Canto II

Second installment and I am noticing a pattern. Introduce knight. Make the knight fight. Put knight in hole. Introduce another knight or switch to one you already had in a hole. Rinse and repeat. It’s a neat formula. I can see why the book’s been so popular.

This chapter has a lot of that. It also has wizards, sprites, dwarfs, and a winged horse. A veritable monster manual of stuff. 

So strap on your sword belts and let’s go!

Rinaldo and Sacripante are getting ready to duel. The cause? Angelica (and the fact that Sacripante is on Rinaldo’s horse):

“Let us then have recourse

To combat, to decide which of us is

More worthy of the lady and the horse.”

Lady? Horse? Same same. 

So the two knights hurl themselves at each other. Rinaldo on the ground, Sacripante on a horse. Except it’s Rinaldo’s horse, Baiardo, and refuses to harm its master. Sacripante dismounts and now they hurl themselves at each other with all their fury. There’s lots of clashing. Rinaldo’s sword is named Fusberta. Sacripnate’s shield gets smashed and his arm broken. Angelica sees Rinaldo is about to win and does what she does best: hightail it out of there as fast as she can and make straight for the forest. In there because the wilderness is a wild place where anything can happen, she promptly finds a hermit who turns out to be a wizard and kindly deposed to her.

“As soon as the fair damsel he had seen

Approaching him, though weaker than of yore,

That organ, by such tender beauty spurred,

With warmth of feeling and compassion stirred.”

(Ariosto’s talking about the hermit wizard’s heart you pervos.)

The wizard throws his lot in with Angelica and goes with her to the nearest port. He also conjures up a sprite to go distract the still fighting Rinaldo and Sacripante. The sprite takes on human form and tells the knights that they have no reason to fight since Angelica’s gone to Paris with Orlando. If they hurry though it’s possible they could catch them. The knights feel like fools and quit the field. Rinaldo reclaiming Baiardo the Horse and we get a bit then about how great Baiardo is. Smart too. Except not this time. Baiardo falls for the sprite’s trick as well. When they get to Paris, they find no Angelica there only King Charlemagne and he’s preparing for siege. Rinaldo’s quickly ordered off to England on a diplomatic mission. Rinaldo set off and puts to sea where a storm promptly starts, and as the waves mount and threaten to sink the ship Ariosto says “Enough of this guy, let’s talk about that lady knight Bradamante.”

Bradamante is Rinaldo’s sister and equal in power, courage, and virtue. I don’t know the name of her sword or horse… yet. She’s in love with and loved by Ruggiero one of the greatest knights in the African army. I suspect we will see more of him later when someone else gets put in a hole. As it is Bradamante finds another knight looking doleful. She asks what’s wrong and the knight tells a tale of how he and his girl were riding along when a knight on a winged horse flew down and stole his girl. He tried to fight the guy, but he was too fast. Now the knight’s girl is locked up in yonder castle and there’s no way to save her. Already the knight told some other knights (Gradasso and Ruggiero) and their dwarf buddy (name as yet unknown) about the flying menace (name also unknown at the moment) and those guys said they would take care of things, but sadly the flying knight kicked their asses (he has a shield that shoots energy beams by the way) and kidnapped them too. Woe. Woe. Boo hoo.

Being a hero Bradamante’s ready to set off and fight this flying menace. The knight agrees to be her guide. But wait! What’s this the knight is not who he claims! He is Pinabel the Maganzan and he doesn’t have good intentions.

“Named Pinabel, of all true knights the foe.

Born a Maganzan, he obeyed no laws

Of chivalry, and of that breed accurst

In acts of treachery he was the worst.”

The two set forth towards the castle, but on the way the envoy from the first canto shows up and tells Bradamante that she’s needed in Marseilles. Pinabel seethes, and Ariosto explains how there’s hatred between the two families. He gets so vexed that they soon get lost in a wood. There after some maneuvering Pinabel spots a ravine and decides it’s as good a place as any to do away with Bradamante. He tells her a story about a damsel trapped in the hole and convinces Bradamante to climb down there. Except when she does, he cuts the tree branch they’re using and lets her drop. 

“And how she later fared I’ll later say”

Next week… new knights? New horses?