Ludovico Ariosto

Ludovico Ariosto (8 September 1474 – 6 July 1533) was an Italian poet, author of the epic poem Orlando Furioso (1516), "Orlando Enraged".

Orlando Furioso (1532)


Le cortesie, l'audaci imprese io canto.'' of courtliness, and of valiant deeds I sing.
 * ''Le donne i cavallier, l'arme, gli amori,
 * Of ladies, knights, of passions and of wars,
 * Canto I, stanza 1 (tr. David R. Slavitt)

d'huom che si saggio era stimato prima.''
 * ''Che per amor venne in furore e matto,
 * Driven raving mad by love—and he a man who had been always esteemed for his great prudence.
 * Canto I, stanza 2 (tr. Guido Waldman); of Orlando.

E scolorossi al Saracino il viso, La voce ch'era per uscir fermossi.'' All vestiges of colour seem to drain. He tries to speak but can emit no trace Of sound.
 * ''Ogni pelo arricciossi
 * His hair stands up erect and from his face
 * Canto I, stanza 29 (tr. Barbara Reynolds)

Ch'in bel giardin' su la nativa spina Mentre sola e sicura si riposa Ne gregge ne pastor se le avvicina; L'aura soave e l'alba rugiadosa, L'acqua, la terra al suo favor s'inchina: Gioveni vaghi e donne inamorate Amano averne e seni e tempie ornate. Ma no si tosto dal materno stelo Rimossa viene, e dal suo ceppo verde Che quato havea dagli huoi e dal cielo Favor gratia e bellezza tutto perde.'' Ignotus pecori, nullo contusus aratro, Quem mulcent aurae, firmat sol, educat imber; Multi illum pueri, multae optavere puellae: idem cum tenui carptus defloruit ungui, nulli illum pueri, nullae optavere puellae: sic virgo, dum intacta manet, dum cara suis est; cum castum amisit polluto corpore florem, nec pueris iucunda manet, nec cara puellis.''
 * ''La verginella e simile alla rosa
 * A virgin is like a rose: while she remains on the thorn whence she sprang, alone and safe in a lovely garden, no flock, no shepherd approaches. The gentle breeze and the dewy dawn, water, and earth pay her homage; amorous youths and loving maidens like to deck their brows with her, and their breasts. / But no sooner is she plucked from her mother-stalk, severed from her green stem, than she loses all, all the favour, grace, and beauty wherewith heaven and men endowed her.
 * Canto I, stanzas 42–43 (tr. G. Waldman)
 * Compare:
 * ''Ut flos in saeptis secretus nascitur hortis,
 * As a flower springs up secretly in a fenced garden, unknown to the cattle, torn up by no plough, which the winds caress, the sun strengthens, the shower draws forth, many boys, many girls, desire it: so a maiden, whilst she remains untouched, so long she is dear to her own; when she has lost her chaste flower with sullied body, she remains neither lovely to boys nor dear to girls.
 * Catullus, Carmina, LXII (tr. Francis Warre-Cornish)

Ben'e ostinato se merce non grida.''
 * ''Che chi ne l'acqua sta fin'alla gola
 * For when the water is up to your neck you must be truly stubborn not to cry for help.
 * Canto I, stanza 50 (tr. G. Waldman)

E l'invisibil fa vedere Amore.''
 * ''Quel che l'huom vede Amor gli fa invisibile
 * What a man sees, Love can make invisible—and what is invisible, that can Love make him see.
 * Canto I, stanza 56 (tr. G. Waldman)

Dar facile credenza a quel che vuole.''
 * ''Il miser suole
 * A poor wretch will readily believe whatever suits him.
 * Canto I, stanza 56 (tr. G. Waldman)

Corrispondenti fai nostri desiri? Onde, perfido, avvien che t'è sì caro Il discorde voler ch’in duo cor miri?'' You seldom make our longings correspond? How is it, traitor, you rejoice to spy Two hearts discordant, one repelled, one fond?
 * ''Ingiustissimo Amor, perché sì raro
 * Ah, cruel Love! What is the reason why
 * Canto II, stanza 1 (tr. B. Reynolds)

Per balze e per pendici orride e strane, Dove non via, dove sentier non era.'' By horrid cliff, by bottom dark and drear; And giddy precipice, where path was none.
 * ''Sei giorni me n'andai matina e sera
 * Six days I rode, from morn to setting sun,
 * Canto II, stanza 41 (tr. William Stewart Rose)

Sol in virtù non ha possanza alcuna.'' But Virtue soars beyond her love and hate.
 * ''Che dona e tolle ogn'altro ben Fortuna;
 * All else is Fortune's in this mortal state;
 * Canto III, stanza 37 (tr. W. S. Rose)

Parean tener d'ogni baldanza privi.'' Their gaze averted, of all hope devoid.
 * ''Veniano sospirando, e gli occhi bassi
 * I saw them come towards us, deeply sighing,
 * Canto III, stanza 61 (tr. B. Reynolds)

Ch'amareggiare al fin non te la voglia.'' So, leave the bitter and retain the sweet.
 * ''Statti col dolce in bocca; e non ti doglia
 * Of them I thought it wiser not to treat.
 * Canto III, stanza 62 (tr. B. Reynolds)

Ma dentro il petto mal giudicar possi.'' The inmost heart one seldom can discern.
 * ''Ben s'ode il ragionar, si vede il volto,
 * Words one can hear, the face is plain to see:
 * Canto V, stanza 8 (tr. B. Reynolds)

Cose, da quel che già credea, lontane; Che narrandole poi, non se gli crede, E stimato bugiardo ne rimane.'' From his own country, sees things strange and new; That the misjudging vulgar, which lies under The mist of ignorance, esteems untrue.
 * ''Chi va lontan da la sua patria, vede
 * The traveller, he, whom sea or mountain sunder
 * Canto VII, stanza 1 (tr. W. S. Rose)

A cui la castità levata sia?'' Whose chastity is lost?
 * ''Ch'aver può donna al mondo più di buono,
 * For what in all the world is left to her
 * Canto VIII, stanza 42 (tr. B. Reynolds)

Dal sol percossa o da' notturni rai, Per gli ampli tetti va con lungo salto A destra et a sinistra, e basso et alto.'' The trembling shafts of sunlight mirrored are, Leaping to roof-top, and, at random glancing, Sparkle and gleam, in all directions dancing.
 * ''Qual d'acqua chiara il tremolante lume,
 * As on the crystal surface of a lake
 * Canto VIII, stanza 71 (tr. B. Reynolds)

Senza guardar che Dio tutto ode e vede, Aviluppa promesse e giuramenti, Che tutti spargon poi per l'aria i venti.'' Forgets that Heaven with all-discerning eyes Surveys the secret heart; and when desire Has, in possession, quenched its short-lived fire, The devious winds aside each promise bear, And scatter all his solemn vows in air!
 * ''L'amante, per aver quel che desia,
 * The youth, who pants to gain the amorous prize,
 * Canto X, stanza 5 (tr. John Hoole)

Ch'essere accorto all'altrui spese impare.'' Who gain experience from another's woe.
 * ''Bene è felice quel, donne mie care,
 * Reflect, ye gentle dames, that much they know,
 * Canto X, stanza 6 (tr. J. Hoole)

Che vi lasciate amar; che senza amante Sareste come inculta vite in orto, Che non ha palo ove s'appoggi o piante.'' Would I advise you, ladies, to shun love, For like a vine untended, with no strong Support to cling to, you would be.
 * ''Non vi vieto per questo (ch'avrei torto)
 * But not on that account (for I'd be wrong)
 * Canto X, stanza 9 (tr. B. Reynolds)

Talora al fondo, e consolar l'afflitto, Mai non fu biasmo, ma gloria sovente.'' Whom Fortune's wheel beats down in changeful run, Was never blamed; with glory oftener paid.
 * ''Che rilevare un che Fortuna ruote
 * Since to raise up and comfort in distress
 * Canto X, stanza 14 (tr. W. S. Rose)

In which she cast him.
 * Natura il fece, e poi roppe la stampa.
 * Nature broke the mould
 * Canto X, stanza 84 (tr. W. S. Rose)
 * Variant translation: Nature made him, and then broke the mould.
 * Compare: "I think Nature hath lost the mould / Where she her shape did take; / Or else I doubt if Nature could / So fair a creature make." A Praise of his Lady, in Tottel's Miscellany (1557). Henry Howard, Earl of Surrey wrote similar lines, in A Praise of his Love (before 1547). Compare also: "Sighing that Nature formed but one such man, / And broke the die—in moulding Sheridan." Lord Byron, Monody on the Death of the Rt. Hon. R. B. Sheridan, line 117. As reported in Hoyt's New Cyclopedia of Practical Quotations (1922).

D'ogni promessa sua fu disleale, E sempre guarda come involva e stempre Ogni nostro disegno razionale.'' Who treacherously every promise breaks, Who bides his time and watches every move, And every chance to thwart true lovers takes.
 * ''Quivi il crudo tiranno Amor, che sempre
 * And in that place the cruel tyrant, Love,
 * Canto XIII, stanza 20 (tr. B. Reynolds)

Into the fire beneath.
 * Cader de la padella ne le brage.
 * Falling from the pan
 * Canto XIII, stanza 30 (tr. W. S. Rose)

Ma per tuguri ancora e per fenili Spesso si trovan gli uomini gentili.'' For gentlefolk in castles: everywhere, In humble dwellings and in haylofts, too, The hearts of men are often kind and true.
 * ''Che non pur per cittadi e per castella,
 * Do not only look
 * Canto XIV, stanza 62 (tr. B. Reynolds)

Vincasi o per fortuna o per ingegno.'' Whether it be by fortune or by skill.
 * ''Fu il vincer sempremai laudabil cosa,
 * To win was always deemed a splendid thing,
 * Canto XV, stanza 1 (tr. B. Reynolds)

Se ben di sé vede sua donna schiva, Se in tutto aversa al suo desire acceso; Se bene Amor d'ogni mercede il priva, Poscia che 'l tempo e la fatica ha speso; Pur ch'altamente abbia locato il core, Pianger non de', se ben languisce e muore.'' Although his lady may but ill receive His ardour and thus render him distraught, And no reward for his devotion give, Whence all his time and labour come to naught, Yet, if his heart be worthily bestowed, No lamentation to his grief is owed.
 * ''Che chi si truova in degno laccio preso,
 * Whoever in a noble noose is caught,
 * Canto XVI, stanza 2 (tr. B. Reynolds)

Che por con leggiadria la lancia in resta: Ma fortuna anco più bisogna assai; Che senza, val virtù raro o non mai.'' More searching tests of valour, be it said, Than grace and style; and fortune too is needed, Without which valour seldom has succeeded.
 * ''Bisognan di valor segni più chiari,
 * The harsh realities of war impose
 * Canto XVI, stanza 46 (tr. B. Reynolds)

Presta o tarda che sia, pur che ben muora.'' And dies contented, if with fame he dies.
 * ''Un magnanimo cor morte non prezza,
 * The brave can death despise,
 * Canto XVII, stanza 15 (tr. W. S. Rose)


 * Che l'uomo il suo destin fugge di raro.
 * For rarely man escapes his destiny.
 * Canto XVIII, stanza 58 (tr. W. S. Rose)

Che la facesse di menzogna rea.'' As manifested plainly, 'twas a lie.
 * ''Se non volea pulir sua scusa tanto,
 * But that he wrought so high the specious tale,
 * Canto XVIII, stanza 84 (tr. W. S. Rose)

Carlo sapea, quando volgea la faccia.'' When favourable to him her face she showed.
 * ''Che ben pigliar nel crin la buona sorte
 * To Fortune's forelock Charles knew how to cling
 * Canto XVIII, stanza 161 (tr. B. Reynolds)

Perder duo vivi per salvar un morto.'' Two living men to lose for one dead man.
 * ''Che sarebbe pensier non troppo accorto,
 * For it would be indeed a foolish plan,
 * Canto XVIII, stanza 189 (tr. B. Reynolds)

Quando felice in su la ruota siede: Però c'ha i veri e i finti amici a lato, Che mostran tutti una medesma fede. Se poi si cangia in tristo il lieto stato, Volta la turba adulatrice il piede; E quel che di cor ama riman forte, Ed ama il suo signor dopo la morte.'' When high on Fortune's wheel he sits, serene. His friends surround him, true and false, unproved, And the same loyalty in all is seen. When to catastrophe the wheel is moved The crowd of flatterers passes from the scene; But he who loves his lord with all his heart Remains, nor after death does he depart.
 * ''Alcun non può saper da chi sia amato,
 * No man can know by whom he's truly loved
 * Canto XIX, stanza 1 (tr. B. Reynolds)

Por l'arme in mano a chi può più di noi.'' Is an ill method to maintain the throne.
 * ''Non è la via di dominar, se vuoi
 * To arm a hand more powerful than your own
 * Canto XX, stanza 52 (tr. W. S. Rose)

More lovely than Pandora. Needs not the foreign aid of ornament, But is, when unadorned, adorned the most.
 * Che quant' era più ornata, era più brutta.
 * Who seems most hideous when adorned the most.
 * Canto XX, stanza 116 (tr. W. S. Rose)
 * Compare:
 * Beauty when most unclothed is clothed best.
 * Phineas Fletcher, Sicelides (1614), Act II, scene iv
 * In naked beauty more adorned,
 * John Milton, Paradise Lost (1674), Book IV, line 713
 * For Loveliness
 * James Thomson, The Seasons, "Autumn" (1730), line 204


 * Fatto per timor, nullo è il contratto.
 * Void is contract made in fear.
 * Canto XXI, stanza 43 (tr. W. S. Rose)

Che 'l consiglio del mal va raro invano.'' For seldom ill design is schemed in vain.
 * ''Come ordine era dato, il tutto avvenne,
 * As it was ordered, all fell out aright,
 * Canto XXI, stanza 48 (tr. W. S. Rose)

Che da duo venti sia percosso e vinto, Ch'ora uno inanzi l'ha mandato, ed ora Un altro al primo termine respinto, E l'han girato da poppa e da prora.'' by two different winds, one of which propels it forward while the other one is crossed or retrograde, and among the powerful swells it turns and yaws as if the crew were lost.
 * ''Come ne l'alto mar legno talora,
 * There can be times at sea when a ship is tossed
 * Canto XXI, stanza 53 (tr. D. R. Slavitt)

Perché non ben risposta al vero dassi.'' For to the truth no answer can be found.
 * ''Gabrina tenne sempre gli occhi bassi,
 * Gabrina kept her eyes upon the ground,
 * Canto XXI, stanza 69 (tr. B. Reynolds)

Ch'al lungo andar non sia chi 'l vegga e note.'' That someone does not notice finally.
 * ''Sì secreto alcuno esser non puote,
 * But so secretive nobody can be
 * Canto XXII, stanza 39 (tr. B. Reynolds)

E Fortuna talor trovi ribella.'' And find that Fortune will by fits rebel.
 * ''Convien chi ride, anco talor si lagni,
 * Who laughs, as well will sometimes have to plain,
 * Canto XXII, stanza 70 (tr. W. S. Rose)

Gli uomini spesso, e i monti fermi stanno.'' The mountain, motionless, unchanging stays.
 * ''Dice il proverbio, ch'a trovar si vanno
 * Men seek each other out, the proverb says,
 * Canto XXIII, stanza 1 (tr. B. Reynolds)

Mi fa sempre apparir la luce mia.'' as if a spotlight were on me with its glow.
 * ''Ch'ovunque io vada o stia,
 * Wherever I am, people always know
 * Canto XXIII, stanza 36 (tr. D. R. Slavitt)

Il grido e 'l bando per la terra scorse.'' The loud proclaim they through the town declare.
 * ''Di voce in voce e d'una in altra orecchia
 * From voice to voice, from one to other ear,
 * Canto XXIII, stanza 48 (tr. W. S. Rose)

Che, per altri voler, perder se stesso?'' Than self-destruction, of a mind insane?
 * ''Quale è di pazzia segno più espresso
 * What sign is there more plain
 * Canto XXIV, stanza 1 (tr. B. Reynolds)

Si convengono i ceppi e la catena.'' Which waits such passion, well deserves a chain.
 * ''A chi in amor s'invecchia, oltr'ogni pena,
 * He who grows old in love, besides all pain
 * Canto XXIV, stanza 2 (tr. W. S. Rose)

Più chi perde accettabile ha la scusa.'' Easily is the vanquished side excused.
 * ''Sempre che l'inimico è più possente,
 * The stronger is the enemy, the more
 * Canto XXIV, stanza 32 (tr. W. S. Rose)

Che 'l fuoco arde la paglia facilmente.'' How easily the fire consumes the straw.
 * ''Cieco a dargline impresa, e non por mente
 * Blind when I gave him such a trust, nor saw
 * Canto XXIV, stanza 39 (tr. W. S. Rose)

Come volesse dir: nessun la muova, Che star non possa con Orlando a prova.'' By this inscription meaning to deter Whoever saw the splendid trophy shine, As though to say: 'Hands off, all who pass by, Unless Orlando's strength you wish to try.'
 * ''Armatura d'Orlando paladino;
 * 'Arms of Orlando, paladin',
 * Canto XXIV, stanza 57 (tr. B. Reynolds)

Se spesso nuoce, anco talvolta giova.'' Though harm he does, he serves the good as well.
 * ''Dunque Amor sempre rio non si ritrova:
 * Love is not always evil, truth to tell;
 * Canto XXV, stanza 2 (tr. B. Reynolds)


 * Natura d'ogni cosa più possente.
 * The master-hand of Nature is supreme.
 * Canto XXV, stanza 37 (tr. B. Reynolds)


 * Che l'amar senza speme è sogno e ciancia.
 * For hopeless love is but a dream and shade.
 * Canto XXV, stanza 49 (tr. W. S. Rose)

Meglio improviso, ch'a pensarvi, usciti.'' Is better than if pondered well, and weighed.
 * ''Molti consigli de le donne sono
 * The advice of women, if spontaneous,
 * Canto XXVII, stanza 1 (tr. B. Reynolds)

Al suo fisso destin può contradire.'' Cannot evade his hour of destiny.
 * ''Come l'uom né per star né per fuggire,
 * [As] a man, whether he stay or flee,
 * Canto XXVII, stanza 26 (tr. B. Reynolds)

Col pugno chiuso al re di Sericana.'' With a clenched fist at him of Sericane.
 * ''E tratto da la colera, aventosse
 * And over mastered by his choler, flies
 * Canto XXVII, stanza 63 (tr. W. S. Rose)

E d'una fetida erba nasce il giglio.'' And the fair lily springs from loathsome weed.
 * ''Che de le spine ancor nascon le rose,
 * For roses also blossom on the thorn,
 * Canto XXVII, stanza 121 (tr. W. S. Rose)

E parli più di quel che meno intenda.'' And most attempt to speak when least they know.
 * ''Il volgare ignorante ognun riprenda,
 * In blaming others, fools their folly show,
 * Canto XXVIII, stanza 1 (tr. J. Hoole)


 * Che talor cresce una beltà un bel manto.
 * For beauty is enhanced by clothes of style.
 * Canto XXVIII, stanza 12 (tr. B. Reynolds)

Una non è che stia contenta a un solo.'' No woman yet was ever content with one.
 * ''So ben ch'in tutto il gran femineo stuolo
 * Of all the sex this certain truth is known,
 * Canto XXVIII, stanza 50 (tr. J. Hoole)

That which yourselves would wish undone to you.
 * Non far altrui quel che patir non vuoi.
 * To others never do
 * Canto XXVIII, stanza 82 (tr. J. Hoole)

Né può stato mutar, per mutar loco.'' Nor he his nature changed by changing ground.'''
 * ''Né spegner può, per starne l'acqua, il fuoco,
 * '''Such fire was not by water to be drowned,
 * Canto XXVIII, stanza 89 (tr. W. S. Rose)

Come siàn presti a variar disegno! Tutti i pensier mutamo facilmente, Più quei che nascon d’amoroso sdegno.'' Still prone to change with every changing wind! All our resolves are weak, but weakest prove Where sprung from sense of disappointed love.
 * ''O degli uomini inferma e instabil mente!
 * Behold the state of man's unstable mind,
 * Canto XXIX, stanza 1 (tr. J. Hoole)

La faccia macra, e come un osso asciutta, La chioma rabuffata, orrida e mesta, La barba folta, spaventosa e brutta.'' His face was thin and fleshless as a bone. His tangled, bristling hair, inspiring dread, And shaggy beard were wild to look upon.
 * ''Quasi ascosi avea gli occhi ne la testa,
 * His eyes were almost sunken in his head;
 * Canto XXIX, stanza 60 (tr. B. Reynolds)


 * La Fortuna, che dei pazzi ha cura.
 * Fortune, who takes care of the insane.
 * Canto XXX, stanza 15 (tr. B. Reynolds)

Saria di quel d'un amoroso core? Se non fosse l'uom sempre stimulato Da quel sospetto rio, da quel timore, Da quel martìr, da quella frenesia, Da quella rabbia detta gelosia.'' Can be imagined than a loving heart, But for the torment which Man suffers, that Suspicion, sinister and deep, that smart, That aching wretchedness, that malady, That frenzied rage, which we call jealousy?
 * ''Che dolce più, che più giocondo stato
 * What sweeter bliss and what more blessed state
 * Canto XXXI, stanza 1 (tr. B. Reynolds)

Chi provato non ha la guerra prima.'' He has experienced a state of war.
 * ''Non conosce la pace e non l'estima
 * Man cannot relish peace before
 * Canto XXXI, stanza 2 (tr. B. Reynolds)

Pur viene al fin, se ben tarda a venire.'' A lover in the end has his reward.
 * ''Premio al ben servire
 * This too can be endured, though it is hard:
 * Canto XXXI, stanza 3 (tr. B. Reynolds)

To look upon the visage of the sun.
 * Misero è ben chi veder schiva il sole!
 * Most wretched is the mortal that would shun
 * Canto XXXII, stanza 23 (tr. W. S. Rose)

Fuor d'una bocca, in infinito cresce.'' Fame to a boundless torrent quickly grows.
 * ''Che tosto o buona o ria che la fama esce
 * For—good or bad—though from one mouth it flows,
 * Canto XXXII, stanza 32 (tr. W. S. Rose)

E non far d'un gentil contrario effetto.'' And not transform to rude a gentle breast.
 * ''Amor de' far gentile un cor villano,
 * Love should make a churlish nature kind,
 * Canto XXXII, stanza 93 (tr. W. S. Rose)

Né che ben giusto alcun giudicio cada, Ove prima non s'oda quanto nieghi La parte o affermi, e sue ragioni alleghi.'' Your judgment seems, as well all judgments may, Wherein the losing party has not room To plead before the judge pronounces doom.
 * ''A me non par che ben deciso,
 * Partial and unwise
 * Canto XXXII, stanza 101 (tr. W. S. Rose)

E tanto men, quando altri n'ha a patire.'' And even less, if someone it may hurt.
 * ''E quel che non si sa non si de' dire,
 * What is not proved should not be used in court,
 * Canto XXXII, stanza 102 (tr. B. Reynolds)

Eran le perle, eran le ricche gemme.'' Are rarest pearls and other precious gems.
 * ''In mura, in tetti, in pavimenti sparte
 * Inlaid on walls, on roof-tops and on floors,
 * Canto XXXIII, stanza 105 (tr. B. Reynolds)

A voi perdonar sempre a chi si pente.'' To sin, and thine to pardon who repent.
 * ''Proprio è a noi peccar sovente,
 * 'Tis our bent
 * Canto XXXIII, stanza 114 (tr. W. S. Rose)

L'abito poi difficile a mutarsi.'' And use is second nature, hard to change.
 * ''Natura inchina al male, e viene a farsi
 * Nature inclines to ill, through all her range,
 * Canto XXXVI, stanza 1 (tr. W. S. Rose)

Che chi dà morte altrui debba esser morto.'' Who slays another, shall himself be slain.
 * ''Che voglion tutti gli ordini e le leggi,
 * For human laws and laws divine ordain,
 * Canto XXXVI, stanza 33 (tr. W. S. Rose)

Che duri sempre, così ancor né ria.'' So ill endures no more.
 * ''Come cosa buona non si trova
 * As nought good endures beneath the skies,
 * Canto XXXVII, stanza 7 (tr. W. S. Rose)

Ch'ubbidiscon più a quei che più in odio hanno.'' Whom most they loath the people most obey.
 * ''Ma 'l populo facea come i più fanno,
 * But such their power who rule with tyrant sway,
 * Canto XXXVII, stanza 104 (tr. J. Hoole)

All'arbore che 'l vento in terra getta.'' To gather firewood from a fallen tree.
 * ''Com'è in proverbio, ognun corre a far legna
 * No man, the proverb says, will hesitate
 * Canto XXXVII, stanza 106 (tr. B. Reynolds)


 * Chi mal opra, male al fine aspetta.
 * Ill doers in the end shall ill receive.
 * Canto XXXVII, stanza 106 (tr. W. S. Rose)

Non potrebbe comprare oro né argento.'' No silver and no gold could ever buy.
 * ''Ch'un almo gaudio, un così gran contento
 * For such a sovereign joy, a prize so high
 * Canto XXXVIII, stanza 2 (tr. W. S. Rose)

Signor, di sempre accrescere ha in usanza.'' Has always tended to exaggerate.
 * ''O bene o mal che la Fama ci apporti,
 * Rumour her tidings, whether bad or good,
 * Canto XXXVIII, stanza 42 (tr. B. Reynolds)


 * Dolce cosa era la patria.
 * Home was sweet.
 * Canto XXXIX, stanza 63 (tr. W. S. Rose)

Quel ch'era ingiusto e illicito a giurare.'' Which 'tis unlawful and unjust to swear.
 * ''Molti diran che non si de' osservare
 * Many would say, that oaths unbinding are,
 * Canto XL, stanza 67 (tr. W. S. Rose)


 * Mugliando sopra il mar va il gregge bianco.
 * And Neptune's white herd lows above the main.
 * Canto XLI, stanza 9 (tr. W. S. Rose)


 * Le agghiacciò il sangue e impallidille il volto.
 * [He] blanched her cheek and froze her youthful blood.
 * Canto XLI, stanza 33 (tr. W. S. Rose)

Ch'avendo ove sfogarlo, è meno acerbo.'' Which, being vented, is less bitter now.
 * ''Così fa ch'ella un poco il duol raffrena;
 * And thus she helps the Maid to check her grief
 * Canto XLII, stanza 28 (tr. B. Reynolds)


 * Ben che stia mal che l'uom se stesso lodi.
 * Though it becomes not man himself to praise.
 * Canto XLIII, stanza 12 (tr. W. S. Rose)

Difende il cor di pudicizia armato, Tra mille spade via più facilmente Difenderallo, e in mezzo al fuoco ardente.'' Of gold and silver and still pure remain, Would find a thousand swords' attack less dire A peril, or survive in raging fire.
 * ''Che quella che da l'oro e da l'argento
 * She who can stand against an armament
 * Canto XLIII, stanza 68 (tr. B. Reynolds)

Che l'oro e 'l premio ogni durezza inchina; Ma, quando bisognò, l'ebbe in oblio, Ed ei si procacciò la sua ruina.'' A glittering prize can do to bend the will, Yet at the crucial moment he forgot And all his fortune changed from good to ill.
 * ''Dovea in memoria avere il signor mio,
 * My master ought to have remembered what
 * Canto XLIII, stanza 70 (tr. B. Reynolds)

Né nobiltà, né gran fortuna basta, Sì che di vero onor monti in altezza, Se per nome e per opre non è casta.'' Not fortune will suffice to raise a wife To highest honour and esteem if she Neglects to lead a chaste and seemly life.
 * ''A donna né bellezza,
 * Not beauty, not nobility,
 * Canto XLIII, stanza 84 (tr. B. Reynolds)

ra' l'uom talvolta, che sel trova avere.'' A man the gravest sacrilege commit.
 * ''Perché il bisogno a dispogliar gli altari
 * Want is a master which can sometimes make
 * Canto XLIII, stanza 90 (tr. B. Reynolds)


 * Ch'ove femine son, son liti e risse.
 * Where women are, are arguments and strife.
 * Canto XLIII, stanza 120 (tr. B. Reynolds)

Altri la mano, altri gli bacia il piede: Ognun, quanto più può, se gli avvicina, E beato si tien chi appresso il vede, E più chi 'l tocca; che toccar divina E sopranatural cosa si crede. Lo pregan tutti, e vanno al ciel le grida, Che sia lor re, lor capitan, lor guida.'' Some kissed his hand, still others kissed his foot; Whoever touched him, joyful was and proud, For supernatural he seemed, if not Divine; jostling around him in a crowd, As close as possible the Bulgars got, And clamoured for him raucously and cried To be their king, their captain and their guide.
 * ''Uno il saluta, un altro se gl'inchina,
 * One man saluted him, another bowed,
 * Canto XLIV, stanza 97 (tr. B. Reynolds)

Di Fortuna ire in alto il miser uomo, Tanto più tosto hai da vedergli i piedi Ove ora ha il capo, e far cadendo il tomo.'' A wretch ascend, the sooner he will fall, And where his head is now, his feet will be.
 * ''Quanto più su l'instabil ruota vedi
 * The higher up on Fortune's wheel you see
 * Canto XLV, stanza 1 (tr. B. Reynolds)

Sono l'antiche e le moderne istorie, Che 'l ben va dietro al male, e 'l male al bene, E fin son l'un de l'altro e biasmi e glorie; E che fidarsi a l'uom non si conviene In suo tesor, suo regno e sue vittorie, Né disperarsi per Fortuna avversa, Che sempre la sua ruota in giro versa.'' And modern instances teach us the same: Good follows Evil, Evil follows Good, Shame ends in glory, glory ends in shame. Thus it is evident that no man should Put trust in victories or wealth or fame, Nor yet despair if Fortune is adverse: She turns her wheel for better, as for worse.
 * ''Si vede per gli esempi di che piene
 * From history's examples we conclude,
 * Canto XLV, stanza 4 (tr. B. Reynolds)


 * Ordina l'uomo e Dio dispone.
 * Man proposes, and God disposes.
 * Canto XLVI, stanza 35

Quotes about Ariosto

 * Se non è vero, è molto ben trovato.
 * If it is not true it is very well invented.
 * Giordano Bruno, De gli eroici furori (1585). Of Ariosto's Orlando Furioso, as reported in Hoyt's New Cyclopedia of Practical Quotations (1922).

The banks of Po two greater still than he; The world which smiled on him shall do them wrong Till they are ashes, and repose with me. The first [Ariosto] will make an epoch with his lyre And fill the earth with feats of chivalry: His fancy like a rainbow, and his fire, Like that of Heaven, immortal, and his thought Borne onward with a wing that cannot tire; Pleasure shall, like a butterfly new caught, Flutter her lovely pinions o'er his theme, And Art itself seem into Nature wrought By the transparency of his bright dream.
 * But in a farther age shall rise along
 * Lord Byron, The Prophecy of Dante (1821), Canto III, lines 106–118 (pp. 31–32)


 * I found that I had an affinity with writers like Ariosto and Tasso, at least to the extent of loving their poetry. (“Those allegories of Ariosto and Tasso were in some ways very futuristic with those fantastic voyages-they were almost like science fiction without the science.”) Of course they didn't really have science to use. But they had a similarly disciplined imagination.
 * 1982 interview in Conversations with Ursula Le Guin


 * Ce qui m'a surtout charmé dans ce prodigieux ouvrage, c'est que l'auteur, toujours au-dessus de sa matière, la traite en badinant. Il dit les choses les plus sublimes sans effort; et il les finit souvent par un trait de plaisanterie qui n'est ni déplacé ni recherché. C'est à la foi l ' Iliade, l ' Odyssée, et Don Quichotte: car son principal chevalier errant devient fou comme le héros espagnol, et est infiniment plus plaisant. Il y a bien plus, on s'intéresse à Roland, et personne ne s'intéresse à Don Quichotte, qui n'est représenté dans Cervantes que comme un insensé à qui on fait continuellement des malices.
 * What has especially delighted me in this prodigious work [Orlando Furioso] is that its author, always in command of his material, treats it with gay badinage. He effortlessly gives voice to the sublimest things only to finish them with a twist of pleasantry which is neither out of place nor recherché. It is the Iliad and the Odyssey and Don Quixote all rolled into one—for his principal knight errant goes mad like the Spanish hero, and is infinitely more attractive. Furthermore Orlando captures one’s interest while no one is interested in Don Quixote, whom Cervantes represents simply as a fool on whom japes are constantly practised.
 * Voltaire, Dictionnaire Philosophique, article Epopée; English translation from Orlando Furioso by Guido Waldman (Oxford: Oxford University Press, 2008), p. xiv

Translations
The following English translations have been used throughout:


 * Orlando Furioso: A New Verse Translation, trans. David R. Slavitt (Harvard University Press, 2010), ISBN 978-0674053519
 * Orlando Furioso, trans. Guido Waldman (OUP Oxford, 1999), ISBN 978-0191605857
 * Orlando Furioso: Part One, trans. Barbara Reynolds (Penguin Books, 1975), ISBN 978-0140443110
 * Orlando Furioso: Part Two, trans. Barbara Reynolds (Penguin UK, 1991), ISBN 978-0141960517
 * The Orlando Furioso, trans. William Stewart Rose (1823–1831)
 * Orlando Furioso, trans. John Hoole (1783)