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    Ariosto8217s Orlando Furioso Even in the classics, an author must have something outrageous to keep his reader’s attention. Ariosto, in his Orlando Furioso, does so with winged horses and curses placed upon high ranking officials. The main character in cantos 33-35 is Astolfo, and he starts his journey by riding upon a hippogryph. A hippogryph, in mythology, is a flying animal having the wings, claws, and head of a griffin and the body and hindquarters of a horse. Astolfo rides this winged

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    Ambiguity in Reason in Orlando Furioso

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    Ambiguity in Reason in Orlando Furioso 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

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    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

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    Sympathy in Medea, Aeneid, Metamorphoses, Orlando Furioso, and Hamlet Euripedes tugs and pulls at our emotions from every angle throughout The Medea. He compels us to feel sympathy for the characters abused by Medea, yet still feel sympathy for Medea as well. These conflicting feelings build a sense of confusion and anxiety about the unfolding plot. In the beginning, the Nurse reveals the recent background events that have caused Medea so much torment: "She herself helped Jason in every way"

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    Ludovico Ariosto

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    perfect literal form. His son states, “He (Ariosto) was never satisfied with his verses, that he kept changing them again and again, and for this reason never remembered them (Chroche pg. 31).” His masterpiece, Orlando Furioso, took over 30 years to create a final draft. Orlando Furioso (The Mad Roland, Roland Enraged, The Crazy Orlando, etc.) is Ariosto’s most recognized work. The poem is a continuation of Orlando Innamorato (Orlando in Love), written by Matteo Maria Boiardo. It is considered by

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    as well as a stylistic one. On the other hand, the reason could be as simple as Milton himself states in the invocation to Book 1: "Things unattempted yet in prose or rhyme" (1.16). In this one line, Milton borrows directly from Ariosto’s Orlando Furioso, thus acknowledging the epic tradition, yet also challenging that very tradition by promising his readers greatness and originality (Abrams 1476). Paradise Lost, however, is not the first epic to integrate both Christian and tradi... ... middle

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    Much Ado About Nothing:  A Comedy with Deep Meaning Much Ado About Nothing--the title sounds, to a modern ear, offhand and self-effacing; we might expect the play that follows such a beginning to be a marvelous piece of fluff and not much more. However, the play and the title itself are weightier than they initially seem. Shakespeare used two other such titles--Twelfth Night, or What You Will and As You Like It--both of which send unexpected reverberations of meaning throughout their respective

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    and Benedict and Beatrice. The miscreant, Don John, schemes to break up the marriage of Claudio and Hero, but he eventually fails. Shakespeare adopted, or stole these plots from a set of three books. They are Novelle by Matteo Bandello, Orlando Furioso by Ludovico Ariosto, and The Faerie Queen by Edmund Spenser. Shakespeare did not try to disguise his stolen plots, meagerly altering names of characters and places. He extracted small pieces of plot from each of these books, but they are still readily

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    Edmund Spenser vs. Virgil and Ariosto

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    Edmund Spenser vs Virgil and Ariosto Some scholars believe Spenser did not have sufficient education to compose a work with as much complexity as The Faerie Queene, while others are still “extolling him as one of the most learned men of his time”. Scholar Douglas Bush agrees, “scholars now speak less certainly that they once did of his familiarity with ancient literature”. In contrast, Meritt Hughes “finds no evidence that Spenser derived any element of his poetry from any Greek Romance”. Several

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    make critical advances in science. John Herrington was an English poet and whose god mother was Queen Elizabeth. John was known to be a trouble maker. Things caught up with him when he published a rough translation of a racist segment of Orlando Furioso by Ariosto. When a copy of the translation reached the queen, she was discussed. The queen promptly gave John punishment for translating the dirty poem: John was to be confined to his house until he finished translating all 40,000 lines of Ariosto's

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