1 Birth and early life 2 Education and patronage 3 New patronage and diplomatic career 4 Poetic style 5 References 6 In popular culture 7 External links
Birth and early life
Access to the villa where Ariosto was born
Ariosto was born in Reggio nell’Emilia, where his father Niccolò
Ariosto was commander of the citadel. He was the oldest of 10 children
and was seen as the successor to the patriarchal position of his
family. From his earliest years, Ludovico was very interested in
poetry, but he was obliged by his father to study law.
After five years of law, Ariosto was allowed to read classics under
Gregorio da Spoleto. Ariosto's studies of Greek and Latin literature
were cut short by Spoleto's move to
Memorial statue and park, Ferrara.
After the death of his father,
Portrait of Isabella d'Este
Leonardo da Vinci
The cardinal went to
Titian, A Man with a Quilted Sleeve, long believed to be Ludovico Ariosto
Ariosto's play I suppositi (it) was first published in verse form in 1551.
The cardinal's brother, Alfonso, duke of Ferrara, now took Ariosto
under his patronage. By then, Ariosto had already distinguished
himself as a diplomat, chiefly on the occasion of two visits to Rome
as ambassador to Pope Julius II. The fatigue of one of these journeys
brought on an illness from which he never recovered, and on his second
mission he was nearly killed by order of the Pope, who happened at the
time to be in conflict with Alfonso.
On account of the war, his salary of 84 crowns a year was suspended,
and it was withdrawn altogether after the peace. Because of this,
Ariosto asked the duke either to provide for him, or to allow him to
seek employment elsewhere. He was appointed to the province of
Garfagnana, then without a governor, situated on the Apennines, an
appointment he held for three years. The province was distracted by
factions and bandits, the governor had not the requisite means to
enforce his authority and the duke did little to support his minister.
Ariosto's government satisfied both the sovereign and the people given
over to his care, however; indeed, there is a story about a time when
he was walking alone and fell into the company of a group of bandits,
the chief of which, on discovering that his captive was the author of
Orlando Furioso, apologized for not having immediately shown him the
respect due his rank.
In 1508 Ariosto's play Cassaria appeared, and the next year I
suppositi was first acted in
Statue of the poet in Reggio Emilia
Throughout Ariosto's writing are narratorial comments dubbed by Dr.
Daniel Javitch as "Cantus Interruptus". Javitch's term refers to
Ariosto's narrative technique to break off one plot line in the middle
of a canto, only to pick it up again in another, often much later,
canto. Javitch argues that while many critics have assumed Ariosto
does this so as to build narrative tension and keep the reader turning
pages, the poet in reality defuses narrative tension because so much
time separates the interruption and the resumption. By the time the
reader gets to the continuation of the story, he or she has often
forgotten or ceased to care about the plot and is usually wrapped up
in another plot. Ariosto does this, Javitch argues, to undermine
"man's foolish but persistent desire for continuity and completion".
Ariosto uses it throughout his works.
For example, in
But I, who still pursue a varying tale, Must leave awhile the Paladin, who wages A weary warfare with the wind and flood; To follow a fair virgin of his blood.
Some have attributed this piece of metafiction as one component of the "Sorriso ariostesco" or Ariosto's smile, the wry sense of humor that Ariosto adds to the text. In explaining this humor, Thomas Greene, in Descent from Heaven, says:
"The two persistent qualities of Ariosto's language are first, serenity – the evenness and self-contented assurance with which it urbanely flows, and second, brilliance – the Mediterranean glitter and sheen which neither dazzle nor obscure but confer on every object its precise outline and glinting surface. Only occasionally can Ariosto's language truly be said to be witty, but its lightness and agility create a surface which conveys a witty effect. Too much wit could destroy even the finest poem, but Ariosto's graceful brio is at least as difficult and for narrative purposes more satisfying." — Thomas Greene, The Descent from Heaven, a Study in Epic Continuity
^ Etymology Online: Humanist 1580s, "student of the classical humanities," from Middle French humaniste (16c.), formed on model of Italian umanista "student of human affairs or human nature," coined by Italian poet Lodovicio Ariosto (1474–1533), from Latin humanus “human” (see human; also see humanism). Philosophical sense is from 1903. ^ "Vita e Opere di Ludovico Ariosto". Retrieved 15 December 2015. ^ Bondanella, Peter; et al. (2001). Cassell Dictionary Italian Literature. Bloomsbury Academic. ISBN 0304704644. CS1 maint: Explicit use of et al. (link) ^ Daniel Javitch, Cantus interruptus in the 'Orlando Furioso', Modern language notes, 95 (1980)
Greene, Thomas. The Descent from Heaven, a Study in Epic Continuity.
New Haven: Yale University Press, 1963.
Robert Durling, The figure of the poet in
In popular culture Lodovico Ariosto is featured in the novelization of Assassin's Creed: Revelations (the novel describes Ezio's journey to Masyaf, his marriage to Sofia Sartor, the birth of his children and his retirement in more detail) as an Assassin. When Ezio retires after the events of the game, in 1513, he gives his position of Mentor to Lodovico. External links
Wikimedia Commons has media related to Ludovico Ariosto.
Wikiquote has quotations related to: Ludovico Ariosto
Ludovico Ariosto's works, translations and chronology
Works by Lodovico Ariosto at Project Gutenberg
Works by or about
v t e
Ludovico Ariosto's Orlando Furioso
Angelica Bradamante Brandimarte Ruggiero Angelica and Medoro Rodomonte Astolfo Atlantes Brunello Ferragut Sacripante Agolant Duke Aymon Ganelon Marfisa Maugris Melissa Naimon Oliver Pinabel Renaud de Montauban Zerbino Brigliadoro
La liberazione di Ruggiero (1625)
Il palazzo incantato (1642)
The Castle of Iron The Song of Roland Paladin
WorldCat Identities VIAF: 71386455 LCCN: n79041715 ISNI: 0000 0001 2138 5817 GND: 118503952 SELIBR: 175423 SUDOC: 026690233 BNF: cb11889084c (data) BIBSYS: 90191722 ULAN: 500313522 NLA: 35007973 NDL: 00851300 NKC: jn19990000244 ICCU: ITICCUCFIV16897 BNE: XX1163