Vergil's Ending In The Aeneid By Ariosto

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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 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 …show more content…

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 he can win, he does not hesitate to act. After refusing Aeneas’ challenge, he sees a stone and tries to "hurl [it] at his foe" (Vergil XII 1226). Even though "the stone itself,/ Tumbling through space, [falls] short and [has] no impact" (XII 1230-1231), Turnus clearly seeks to destroy Aeneas. If Aeneas lets him live now, he will regret this act if Turnus returns and attacks the Roman Empire. Ariosto eliminates any uncertainty that the hero’s opponent may or may not be dangerous. There is no questioning Rodomont’s threat to Ruggiero. After "[striking] Ruggiero [with a force] similar to that of the pile-driver on twin pontoons in the Po which, after being raised by men with winches, drops onto the pointed stakes," Rodomont "[flings Ruggiero] to the ground" (Ariosto 571). Later, "Rodomont [drives] his steed" and "[hurls his sword] at Ruggiero" (571). Rodomont "[seizes] Ruggiero by the neck and shoulders" (572) and never gives up his fight. He "[jerks] and [twists] and [applies] all his strength to rolling on top of Ruggiero" (572) after he has been wrestled to the ground. Ariosto matches Rodomont and Ruggiero closer in physical strength than Vergil parallels Turnus to Aeneas, therefore it is obvious that Rodomont poses a threat …show more content…

Vergil arouses pity for Turnus when he describes "a groan [sweeping] the Rutulians as they rose,/ A groan heard echoing on all sides from all/ the mountain range, and [echoing] by forests" (XII 1261-1263) after Aeneas spear-shaft "[passes] clean through/ The middle of Turnus’ thigh" (XII 1258-1259). Turnus is clearly in pain, and we are compelled to feel compassion for his suffering. Nonetheless, Aeneas suggests that Turnus deserves to suffer and die as punishment for his previous deeds when he claims, "Pallas makes this offering/ And from [Turnus’] criminal blood exacts his due" (XII 1293-1294). Despite this justification for Turnus’ downfall, Vergil still provokes our empathy when he describes the escape of Turnus’ spirit "with a groan for that indignity" (XII 1297). Ariosto elicits only palpable contempt for Rodomont when he describes his "angry spirit which, among the living, had been so proud and insolent, [flees] cursing down the dismal shores of Acheron" (573). No sympathy is aroused for Rodomont’s death, so it is easier to accept that the hero has killed

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