[569] For instance, when he attacks Argalia with his sword, contrary to stipulation, after being unhorsed by him (I. i. 71-73). The fury of Ferraguto in this scene is one of Boiardo's most brilliant episodes.
[570] His epithets are always fiorito, fior di cortesia, di franchezza fiore, etc. For the effect of his beauty, see II. xxi. 49, 50. The education of Ruggiero by Atalante was probably suggested to Boiardo by the tale of Cheiron and Achilles. See II. i. 74, 75.
[571] See II. i. 56, for Rodamonte's first appearance; for his atheism, II. iii. 22:
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Che sol il mio buon brando e l'armatura E la mazza, ch'io porto, e 'l destrier mio E l'animo, ch'io ho, sono il mio Dio. |
[572] II. iii. 40.
[573] In Bello's Mambriano, for instance, we have a very lively picture of the amorous and vain Astolfo. Pulci supplies us with even a more impressive Orlando than Boiardo's hero, while his Amazonian heroines, Meridiana and Antea, are at least rough sketches for Marfisa. It was Boiardo's merit to have grasped these characters and drawn them with a fullness of minute detail that enhances their vitality.
[574] Her arts and their success are splendidly set forth, I. xxv. xxvi.
[575] In proem to II. xii., Boiardo makes an excuse, imitated by Ariosto to his lady for this bad treatment of women.
[576] Leodilla's story is found in I. xxi. xxii. xxiv. 14-17, 44.
[577] I. iii. 47-50.