Orlando Furioso Clarifies Vergil’s Ending in The Aeneid Essay -- Orlan

Orlando Furioso Clarifies Vergil’s Ending in The Aeneid  Ã‚     Ã‚  Ã‚   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 that Vergil elicits in his conclusion and responds interpretively, reshaping the ending and clarifying ambiguities. Does Vergil intend to write such an abrupt, controversial ending? Some critics suggest that Vergil meant to complete the story with a more upbeat, joyous tone, but he died before he completed task. They propose a Book XIII that incorporates a large ceremonial marriage between Aeneas and Lavinia into the story as a "happy" ending. Others insinuate that Vergil purposefully concludes the heroic poem to leave questions for readers. Ariosto incorporates a vast, joyful wedding between Ruggiero and Bradamant into his novel before mimicking Vergil’s ending; he argues that Vergil intended to end where he did. Even though we often yearn to read a "happy" ending, an abrupt, controversial ending provokes more contemplation. Ariosto suggests that Vergil planned to arouse his readers’ minds, and not satisfy their common desire for a "happy" ending, by introducing discord. Does Turnus pose a threat? From one point of view, Aeneas seems to always have the military upper hand, and Turnus seems physically inferior, thus not threatening. However, from a different perspective Turnus is deceptive, thus menacing. When he thinks h... ...this act to remind us how brutal Aeneas is when he kills without hesitation. Ariosto addresses the multiple ambiguities Vergil leaves behind. He indicates that a "happy" ending is not always required to please readers and transforms Vergil’s controversial ending into a straightforward conclusion by adapting Rodomont’s character to Turnus and Ruggiero’s character to Aeneas. When the hero’s foe poses a threat and proves capable of defending himself, we do not feel sorry for his death because the hero obviously must kill to defend his own life. We find comfort in Vergil’s ending by superimposing these interpretations and corrections by Ariosto into The Aeneid. Works Cited Waldman, Guido, trans. Orlando Furioso. By Ludovico Ariosto. New York: Oxford University Press, 1983. Fitzgerald, Robert, trans. The Aeneid. By Vergil. New York: Random House, 1983.