Bradamante: Difference between revisions

Bradamante
Bradamante
	Bradamante valorosa (1597) by Antonio Tempesta
First appearance	Orlando Innamorato
In-universe information
Gender	Female
Occupation	Knight
Spouse	Ruggiero
Relatives	Rinaldo (brother); Alardo (brother); Ricciardetto (brother); Guidon (brother); Duke Amon (father); Beatrice (mother);
Religion	Christianity

Browse history interactively

← Previous edit

Content deleted Content added

VisualWikitext

Inline

Latest revision as of 06:32, 29 November 2024

Bradamante (occasionally spelled Bradamant) is a fictional knight heroine in two epic poems of the Renaissance: Orlando Innamorato by Matteo Maria Boiardo and Orlando Furioso by Ludovico Ariosto.^[1] Since the poems exerted a wide influence on later culture, she became a recurring character in Western art.^[2]^[3]

In Orlando Innamorato and Orlando Furioso

Bradamante, a female Christian knight in the service of Charlemagne, is the sister of Rinaldo and the daughter of Amon, duke of Dordognes.^[4] She falls in love with a Saracen warrior named Ruggiero but refuses to marry unless he converts from Islam. An expert in combat, she wields a magical lance that unhorses anyone it touches, and rescues Ruggiero from being imprisoned by the wizard Atlantes.^[5] She is described as wearing white, with a white shield and a crest of a pennon.^[6]

She is one of the French warriors fighting during a Saracen invasion of France. She is fighting the Saracen Rodomont when Ruggiero informs her Charlemagne is retreating. Bradamante tries to leave to join the rest of the French forces, but Rodomont keeps her from leaving. Ruggiero, finding Rodomont's actions dishonorable, steps in to fight Rodomont to allow Bradamante to leave. However, Bradamante cannot catch up to Charlemagne's army and returns to Rodomont and Ruggiero, feeling guilty for leaving someone else to fight in her place. Rodomont is impressed with the honor of Ruggiero and Bradamante and rides off, leaving Ruggiero and Bradamante together. They are mutually impressed with one another and share their identities. Bradamante also removes her helmet, revealing to Ruggiero for the first time that she is a woman. An ambush then manages to separate them.^[7]

The two lovers are separated many times in the story, and Bradamante faces many challenges. She travels to a castle made of steel to rescue Ruggiero from the wizard Atlantes with the help of the sorceress Melissa and a magic ring,^[8] escapes from a castle full of illusions,^[9] and encounters many other difficulties.

After the lovers are reunited, Rinaldo grants Ruggiero his blessing to marry Bradamante. However, her parents reject the suitor even after Ruggiero converts, preferring Leo, the son of the Greek emperor Constantine. Bradamante convinces Charlemagne to decree that she will only marry a man who can withstand her in battle, greatly angering her parents, who reluctantly agree. Ruggiero sets off to kill Leo; on the way, he finds the Constantine's forces battling the Bulgarians. Ruggiero immediately enters the battle to assist the Bulgarians, who had been losing, and manages to turn the tide of the battle. However, he is captured and imprisoned by the Greeks. Leo, impressed with Ruggiero's valor, frees him. He then asks for a favor, and Ruggiero, grateful for his freedom, promises to grant whatever Leo asks. Leo, having learned of Bradamante's challenge and knowing he is not strong enough to win against her, asks that Ruggiero fight Bradamante on his behalf. Ruggiero reluctantly keeps his promise and disguises himself as Leo to fight Bradamante. He wins the match and retreats to the woods, wishing to die. There, Leo finds him and asks what is wrong. After Ruggiero reveals his identity and that he is in love with Bradamante, Leo annuls the engagement to let Bradamante and Ruggiero wed.^[10]^[11] At the end, their marriage gives rise to the noble House of Este, who were patrons to both Boiardo and Ariosto.^[12]^[13]

The poems drew from legends of Charlemagne, chansons de geste, and blended recurring motifs found in the Matter of France and the Matter of Britain.^[14]^[15]^[16] Bradamante and Ruggiero's romance is most likely made to parallel the romance of Angelica and Orlando. Bradamante and Ruggiero's love is reciprocated and honorable, whereas Orlando is driven mad with love and Angelica despises him. Bradamante also spends much of Orlando Furioso chasing down her love to save him, contrasting with Angelica, who spends most of the story running from Orlando.^[17]

In later works

In 1582, French dramatist Robert Garnier wrote a tragicomedy named Bradamante that further develops the love story between the heroine and Roger (Ruggiero).^[18]

Several eponymous operas have been written about the heroine:

La Bradamante, written by Pietro Paolo Bissari with music composed by Francesco Cavalli, was first performed in 1650 at the Teatro Santi Giovanni e Paolo of Venice.^[19]
Bradamante, composed by Louis Lacoste with a libretto written by Pierre-Charles Roy, was first performed at the Académie Royale de Musique (the Paris Opera) on 2 May 1707.^[20]
Bradamante, written by Heinrich Joseph von Collin with music composed by Johann Friedrich Reichardt, was first performed in Vienna on 3 February 1809.^[20]
Bradamante, composed by Eduard Tauwitz, was first performed in Riga in 1844.^[20]

She also appears as a character in Handel's opera Alcina and Johann Adolph Hasse's Il Ruggiero.

Bradamante appears as one of the leading characters in several novels. For example, in Italo Calvino's surrealistic, highly ironic 1959 novel Il Cavaliere inesistente (The Nonexistent Knight).^[21]

In cinema, she is depicted by Barbara De Rossi in the 1983 Italian film I Paladini: Storia d'armi e d'amori (also known as Paladins: The Story of Love and Arms or Hearts and Armour) – a film based on the legends surrounding the Peers of Charlemagne.^[22]

She appears as a Lancer class Servant in the mobile game Fate/Grand Order.

The mobile game Puzzles and Dragons has added her to their roster as "White Feathered Knight, Bradamante" with Active Skill "La Bella Paladina" and Leader Skill "I don't fraternize with weaklings".

Notes and references

^ Calvino, Italo (23 October 2012). "Bradamante e Marfisa". Orlando furioso di Ludovico Ariosto raccontato da Italo Calvino [Orlando Furioso by Ludovico Ariosto narrated by Italo Calvino] (in Italian). Segrate, Italy: Edizioni Mondadori. p. 180. ISBN 978-88-520-3018-5. Retrieved 14 July 2016.
^ Shemek, Deanna (1998). Ladies Errant: Wayward Women and Social Order in Early Modern Italy. Durham, NC, USA: Duke University Press. p. 13. ISBN 0-8223-2167-X. Retrieved 15 July 2016.
^ Stoppino, Eleonora (2012). Genealogies of Fiction: Women Warriors and the Dynastic Imagination in the Orlando Furioso. Bronx, New York: Fordham University Press. p. 177. ISBN 978-0-8232-4037-1. Retrieved 15 July 2016.
^ Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. p. 541. ISBN 978-0-674-03535-5.
^ Lang, Andrew (1905). The Red Romance Book. London: Longmans, Green, and Company. p. 345. Retrieved 14 July 2016.
^ Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. pp. 16, 18. ISBN 978-0-674-03535-5.
^ Thomas, Bulfinch (1979). Bulfinch's Mythology. Crown Publishers, Inc. pp. 696–698. ISBN 0-517-27415-9.
^ Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. pp. 41–53. ISBN 978-0-674-03535-5.
^ Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. pp. 259–267. ISBN 978-0-674-03535-5.
^ Bulfinch, Thomas (1913). The Age of Fable: or Beauties of Mythology. Vol. IV: Legends of Charlemagne. New York: Review of Reviews Co. ISBN 1-58734-082-8. Retrieved 14 July 2016.
^ Ariosto, Lodovico (1962). Sir John Harington's Translation of Orlando Furioso. Southern Illinois University Press. pp. 535–566.
^ Merriam-Webster, Inc. (1995). Merriam-Webster's Encyclopedia of Literature. Springfield, MA, USA: Merriam-Webster. p. 166. ISBN 978-0-87779-042-6. Retrieved 15 July 2016.
^ Reynolds, Barbara (30 August 1975). "Introduction". In Arisoto, Ludovico (ed.). Orlando Furioso: Part I. Translated by Reynolds, Barbara. New York, USA: Penguin Group. p. 64. ISBN 978-1-101-49280-2. Retrieved 15 July 2016.
^ Giardina, Henry (24 June 2014). "Mad with Desire (Kind Of)". Paris Review. Retrieved 15 July 2016.
^ DeSa Wiggins, Peter in Beecher, Donald; Ciavolella, Massimo; Fedi, Roberto (2003). Ariosto Today: Contemporary Perspectives. University of Toronto Press. p. 28. ISBN 0802029671.
^ Ward, Adolphus William; Waller, Alfred Rayney; Trent, William Peterfield; Erskine, John; Sherman, Stuart Pratt; Van Doren, Carl, eds. (1907–1921). "Chapter XIII: Metrical Romances, 1200–1500". The Cambridge History of English and American Literature. Cambridge, U.K.: Cambridge University Press. p. 13. ISBN 1-58734-073-9. Retrieved 14 July 2016.
^ Ariosto, Lodovico (1962). Sir John Harington's Translation of Orlando Furioso. Southern Illinois University Press. pp. IX.
^ Stone, Donald (2015). "The Place of Garnier's Bradamante in Dramatic History". Journal of the Australasian Universities Language and Literature Association. 26 (1): 260–271. doi:10.1179/aulla.1966.26.1.007. ISSN 0001-2793.
^ Galvani, Livio Niso (Giovanni Salvioli) (1879). I Teatri Musicali di Venezia nel Secolo XVII (1637-1700): Memorie Storiche e Bibliografiche [The Musical Theatre of Venice in the 17th Century (1637-1700): Historical and Bibliographical Memoir] (in Italian). Milan, Italy: Arnaldo Forni Editore. p. 33. Retrieved 15 July 2016.
^ ^a ^b ^c Clément, Félix; Larousse, Pierre (1881). Dictionnaire des Opéras [Dictionary of Operas] (in French). Paris, France: Administration du Grand Dictionnaire Universel. p. 119. Retrieved 15 July 2016.
^ Bloom, Harold (2002). Italo Calvino: Comprehensive Research and Study Guide. Broomall, PA, USA: Chelsea House. p. 82. ISBN 978-0-7910-6824-3. Retrieved 20 July 2016.
^ Beecher, Donald; Ciavolella, Massimo; Fedi, Roberto (2003). Ariosto Today: Contemporary Perspectives. Toronto, Canada: University of Toronto Press. p. 209. ISBN 0802029671.

External links

Media related to Bradamante at Wikimedia Commons

[Calvino,_2012-1] Calvino, Italo (23 October 2012). "Bradamante e Marfisa". Orlando furioso di Ludovico Ariosto raccontato da Italo Calvino [Orlando Furioso by Ludovico Ariosto narrated by Italo Calvino] (in Italian). Segrate, Italy: Edizioni Mondadori. p. 180. ISBN 978-88-520-3018-5. Retrieved 14 July 2016.

[Shemek1998-2] Shemek, Deanna (1998). Ladies Errant: Wayward Women and Social Order in Early Modern Italy. Durham, NC, USA: Duke University Press. p. 13. ISBN 0-8223-2167-X. Retrieved 15 July 2016.

[Stoppino2012-3] Stoppino, Eleonora (2012). Genealogies of Fiction: Women Warriors and the Dynastic Imagination in the Orlando Furioso. Bronx, New York: Fordham University Press. p. 177. ISBN 978-0-8232-4037-1. Retrieved 15 July 2016.

[4] Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. p. 541. ISBN 978-0-674-03535-5.

[Lang1905-5] Lang, Andrew (1905). The Red Romance Book. London: Longmans, Green, and Company. p. 345. Retrieved 14 July 2016.

[6] Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. pp. 16, 18. ISBN 978-0-674-03535-5.

[7] Thomas, Bulfinch (1979). Bulfinch's Mythology. Crown Publishers, Inc. pp. 696–698. ISBN 0-517-27415-9.

[8] Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. pp. 41–53. ISBN 978-0-674-03535-5.

[9] Ariosto, Ludovico (2009). Orlando furioso: a new verse translation. The Belknap Press of Harvard University Press. pp. 259–267. ISBN 978-0-674-03535-5.

[Bulfinch1913-10] Bulfinch, Thomas (1913). The Age of Fable: or Beauties of Mythology. Vol. IV: Legends of Charlemagne. New York: Review of Reviews Co. ISBN 1-58734-082-8. Retrieved 14 July 2016.

[11] Ariosto, Lodovico (1962). Sir John Harington's Translation of Orlando Furioso. Southern Illinois University Press. pp. 535–566.

[MWEL_1995-12] Merriam-Webster, Inc. (1995). Merriam-Webster's Encyclopedia of Literature. Springfield, MA, USA: Merriam-Webster. p. 166. ISBN 978-0-87779-042-6. Retrieved 15 July 2016.

[Ariosto1975-13] Reynolds, Barbara (30 August 1975). "Introduction". In Arisoto, Ludovico (ed.). Orlando Furioso: Part I. Translated by Reynolds, Barbara. New York, USA: Penguin Group. p. 64. ISBN 978-1-101-49280-2. Retrieved 15 July 2016.

[Giardina,_2014-14] Giardina, Henry (24 June 2014). "Mad with Desire (Kind Of)". Paris Review. Retrieved 15 July 2016.

[Arisoto_Today_2-15] DeSa Wiggins, Peter in Beecher, Donald; Ciavolella, Massimo; Fedi, Roberto (2003). Ariosto Today: Contemporary Perspectives. University of Toronto Press. p. 28. ISBN 0802029671.

[CHEAL-16] Ward, Adolphus William; Waller, Alfred Rayney; Trent, William Peterfield; Erskine, John; Sherman, Stuart Pratt; Van Doren, Carl, eds. (1907–1921). "Chapter XIII: Metrical Romances, 1200–1500". The Cambridge History of English and American Literature. Cambridge, U.K.: Cambridge University Press. p. 13. ISBN 1-58734-073-9. Retrieved 14 July 2016.

[17] Ariosto, Lodovico (1962). Sir John Harington's Translation of Orlando Furioso. Southern Illinois University Press. pp. IX.

[Stone2015-18] Stone, Donald (2015). "The Place of Garnier's Bradamante in Dramatic History". Journal of the Australasian Universities Language and Literature Association. 26 (1): 260–271. doi:10.1179/aulla.1966.26.1.007. ISSN 0001-2793.

[Galvani,_1879-19] Galvani, Livio Niso (Giovanni Salvioli) (1879). I Teatri Musicali di Venezia nel Secolo XVII (1637-1700): Memorie Storiche e Bibliografiche [The Musical Theatre of Venice in the 17th Century (1637-1700): Historical and Bibliographical Memoir] (in Italian). Milan, Italy: Arnaldo Forni Editore. p. 33. Retrieved 15 July 2016.

[Clément_&_Larousse,_1881-20] Clément, Félix; Larousse, Pierre (1881). Dictionnaire des Opéras [Dictionary of Operas] (in French). Paris, France: Administration du Grand Dictionnaire Universel. p. 119. Retrieved 15 July 2016.

[Bloom,_2002-21] Bloom, Harold (2002). Italo Calvino: Comprehensive Research and Study Guide. Broomall, PA, USA: Chelsea House. p. 82. ISBN 978-0-7910-6824-3. Retrieved 20 July 2016.

[Beecher_et_al,_2003-22] Beecher, Donald; Ciavolella, Massimo; Fedi, Roberto (2003). Ariosto Today: Contemporary Perspectives. Toronto, Canada: University of Toronto Press. p. 209. ISBN 0802029671.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

[16]

[17]

[18]

[19]

[20]

[21]

[22]

@@ Line 1: / Line 1: @@
 {{for|the Italian noblewoman|Bradamante d'Este}}
 {{Infobox character
-| colour = <!-- headers background colour; the foreground colour is automatically computed -->
 | name = Bradamante
 | series = <!-- use without the italic on the outside -->
@@ Line 21: / Line 20: @@
 | significant_other =
 | children =
-| relatives = [[Renaud de Montauban|Rinaldo]] (Brother)
+| relatives = {{Plainlist|
+ * [[Renaud de Montauban|Rinaldo]] (brother)
+* Alardo (brother)
+* Ricciardetto (brother)
-Alardo (Brother)
+* Guidon (brother)
+* Duke Amon (father)
-Ricciardetto (Brother)
+* Beatrice (mother)
+}}
-Guidon (Brother)
-Duke Amon (Father)
-Beatrice (Mother)
 | religion = [[Christianity]]
 | nationality =
 }}
-'''Bradamante''' (occasionally spelled '''Bradamant''') is a fictional knight heroine in two [[epic poem]]s of the [[Renaissance]]: ''[[Orlando Innamorato]]'' by [[Matteo Maria Boiardo]] and ''[[Orlando Furioso]]'' by [[Ludovico Ariosto]].<ref name="Calvino, 2012">{{cite book|last=Calvino|first=Italo|author-link=Italo Calvino|title=Orlando furioso di Ludovico Ariosto raccontato da Italo Calvino|trans-title=Orlando Furioso by Ludovico Ariosto narrated by Italo Calvino|url=https://books.google.com/books?id=TEfe0x8qawEC&pg=PR180|access-date=14 July 2016|date=23 October 2012|publisher=Edizioni Mondadori|location=Segrate, Italy|language=it|isbn=978-88-520-3018-5|page=180|chapter=Bradamante e Marfisa}}</ref> Since the poems exerted a wide influence on later culture, she became a recurring character in Western art.<ref name="Shemek1998">{{cite book|last=Shemek|first=Deanna|title=Ladies Errant: Wayward Women and Social Order in Early Modern Italy|url=https://books.google.com/books?id=tndNB2-U9eAC&pg=PA13|access-date=15 July 2016|year=1998|publisher=Duke University Press|location=Durham, NC, USA|isbn=0-8223-2167-X|page=13}}</ref><ref name="Stoppino2012">{{cite book|last=Stoppino|first=Eleonora|title=Genealogies of Fiction: Women Warriors and the Dynastic Imagination in the Orlando Furioso|url=https://books.google.com/books?id=elaYMiykCJUC&pg=PA177|access-date=15 July 2016|year=2012|publisher=Fordham University Press|location=Bronx, New York|isbn=978-0-8232-4037-1|page=177}}</ref>
+'''Bradamante''' (occasionally spelled '''Bradamant''') is a fictional knight heroine in two [[epic poem]]s of the [[Renaissance]]: ''[[Orlando Innamorato]]'' by [[Matteo Maria Boiardo]] and ''[[Orlando Furioso]]'' by [[Ludovico Ariosto]].<ref name="Calvino, 2012">{{cite book|last=Calvino|first=Italo|author-link=Italo Calvino|title=Orlando furioso di Ludovico Ariosto raccontato da Italo Calvino|trans-title=Orlando Furioso by Ludovico Ariosto narrated by Italo Calvino|chapter-url=https://books.google.com/books?id=TEfe0x8qawEC&pg=PR180|access-date=14 July 2016|date=23 October 2012|publisher=Edizioni Mondadori|location=Segrate, Italy|language=it|isbn=978-88-520-3018-5|page=180|chapter=Bradamante e Marfisa}}</ref> Since the poems exerted a wide influence on later culture, she became a recurring character in Western art.<ref name="Shemek1998">{{cite book|last=Shemek|first=Deanna|title=Ladies Errant: Wayward Women and Social Order in Early Modern Italy|url=https://books.google.com/books?id=tndNB2-U9eAC&pg=PA13|access-date=15 July 2016|year=1998|publisher=Duke University Press|location=Durham, NC, USA|isbn=0-8223-2167-X|page=13}}</ref><ref name="Stoppino2012">{{cite book|last=Stoppino|first=Eleonora|title=Genealogies of Fiction: Women Warriors and the Dynastic Imagination in the Orlando Furioso|url=https://books.google.com/books?id=elaYMiykCJUC&pg=PA177|access-date=15 July 2016|year=2012|publisher=Fordham University Press|location=Bronx, New York|isbn=978-0-8232-4037-1|page=177}}</ref>
 ==In ''Orlando Innamorato'' and ''Orlando Furioso''==
+[[File:Bradamante at Merlin's Tomb by Alexandre-Evariste Fragonard, High Museum of Art.jpg|thumb|''Bradamante at Merlin's Tomb'' by [[Alexandre-Evariste Fragonard]] ]]
-Bradamante, a female Christian knight, is the sister of [[Renaud de Montauban|Rinaldo]] and falls in love with a [[Saracen]] warrior named [[Rogero|Ruggiero]], but refuses to marry him unless he converts from [[Islam]]. An expert in combat, she wields a magical [[lance]] that unhorses anyone it touches, and rescues Ruggiero from being imprisoned by the wizard [[Atlantes (sorcerer)|Atlantes]].<ref name="Lang1905">{{cite book|last=Lang|first=Andrew|author-link=Andrew Lang|title=The Red Romance Book|url=https://archive.org/details/redromancebook00fordgoog|access-date=14 July 2016|year=1905|publisher=Longmans, Green, and Company|location=London|page=[https://archive.org/details/redromancebook00fordgoog/page/n377 345]}}</ref>
+Bradamante, a female Christian knight in the service of [[Charlemagne]], is the sister of [[Renaud de Montauban|Rinaldo]] and the daughter of Amon, [[County of Périgord|duke of Dordognes]].<ref>{{Cite book|last=Ariosto|first=Ludovico|title=Orlando furioso: a new verse translation|publisher=The Belknap Press of Harvard University Press|year=2009|isbn=978-0-674-03535-5|pages=541|language=English}}</ref> She falls in love with a [[Saracen]] warrior named [[Ruggiero (character) |Ruggiero]] but refuses to marry unless he converts from [[Islam]]. An expert in combat, she wields a magical [[lance]] that unhorses anyone it touches, and rescues Ruggiero from being imprisoned by the wizard [[Atlantes (sorcerer)|Atlantes]].<ref name="Lang1905">{{cite book|last=Lang|first=Andrew|author-link=Andrew Lang|title=The Red Romance Book|url=https://archive.org/details/redromancebook00fordgoog|access-date=14 July 2016|year=1905|publisher=Longmans, Green, and Company|location=London|page=[https://archive.org/details/redromancebook00fordgoog/page/n377 345]}}</ref> She is described as wearing white, with a white shield and a crest of a pennon.<ref>{{Cite book|last=Ariosto|first=Ludovico|title=Orlando furioso: a new verse translation|publisher=The Belknap Press of Harvard University Press|year=2009|isbn=978-0-674-03535-5|pages=16, 18|language=English}}</ref>
+She is one of the French warriors fighting during a Saracen invasion of France. She is fighting the Saracen Rodomont when Ruggiero informs her Charlemagne is retreating. Bradamante tries to leave to join the rest of the French forces, but Rodomont keeps her from leaving. Ruggiero, finding Rodomont's actions dishonorable, steps in to fight Rodomont to allow Bradamante to leave. However, Bradamante cannot catch up to Charlemagne's army and returns to Rodomont and Ruggiero, feeling guilty for leaving someone else to fight in her place. Rodomont is impressed with the honor of Ruggiero and Bradamante and rides off, leaving Ruggiero and Bradamante together. They are mutually impressed with one another and share their identities. Bradamante also removes her helmet, revealing to Ruggiero for the first time that she is a woman. An ambush then manages to separate them.<ref>{{Cite book|last=Thomas|first=Bulfinch|title=Bulfinch's Mythology|publisher=Crown Publishers, Inc.|year=1979|isbn=0-517-27415-9|pages=696–698|language=English}}</ref>
-The two lovers are separated many times in the story, and her parents reject the suitor even after Ruggiero converts to [[Christianity]], preferring a nobleman called Leo. Bradamante manages to convince King Charlemagne to decree that she will only marry a man who can withstand her in battle, greatly angering her parents, who nonetheless reluctantly agree. Ruggiero, meanwhile, sets off to kill Leo. On the way, he finds the Constantine’s forces battling the Bulgarians. Ruggiero immediately enters the battle to assist the Bulgarians, who had been losing, and manages to turn the tide of the battle. However, he is captured and imprisoned by the Greeks. Leo, impressed with Ruggiero’s valor, frees him. He then asks for a favor, and Ruggiero, grateful for his freedom, promises to grant whatever Leo asks. Leo, having learned of Bradamante’s challenge and knowing he isn’t strong enough to win against her, asks that Ruggiero fight Bradamante on his behalf. Ruggiero reluctantly keeps his promise and disguises himself as Leo to fight Bradamante. He wins the match and retreats to the woods, wishing to die. There, Leo finds him and asks what is wrong. After Ruggiero reveals his identity and that he is in love with Bradamante, Leo annuls the engagement to let Bradamante and Ruggiero wed. <ref name="Bulfinch1913">{{cite book|last1=Bulfinch|first1=Thomas|author-link1=Thomas Bulfinch|title=The Age of Fable: or Beauties of Mythology|volume=IV: Legends of Charlemagne|date=1913|publisher=Review of Reviews Co.|location=New York|isbn=1-58734-082-8|url=http://www.bartleby.com/183/8.html|access-date=14 July 2016}}</ref><ref>{{Cite book|last=Ariosto|first=Lodovico|title=Sir John Harington's Translation of Orlando Furioso|publisher=Southern Illinois University Press|year=1962|isbn=|pages=535-566|language=English}}</ref> At the end, their marriage gives rise to the noble [[House of Este]], who were patrons to both Boiardo and Ariosto.<ref name="MWEL_1995">{{cite book|author=Merriam-Webster, Inc.|title=Merriam-Webster's Encyclopedia of Literature|url=https://archive.org/details/merriamwebsters00merr|url-access=registration|access-date=15 July 2016|year=1995|publisher=Merriam-Webster|location=Springfield, MA, USA|isbn=978-0-87779-042-6|page=[https://archive.org/details/merriamwebsters00merr/page/166 166]}}</ref><ref name="Ariosto1975">{{cite book|translator-last=Reynolds|translator-first=Barbara|last=Reynolds|first=Barbara|editor-last=Arisoto|editor-first=Ludovico|title=Orlando Furioso: Part I|chapter-url=https://books.google.com/books?id=mC8FJH3j-iEC&pg=PA64|access-date=15 July 2016|date=30 August 1975|publisher=Penguin Group|location=New York, USA|isbn=978-1-101-49280-2|page=64|chapter=Introduction}}</ref>
+The two lovers are separated many times in the story, and Bradamante faces many challenges. She travels to a castle made of steel to rescue Ruggiero from the wizard Atlantes with the help of the sorceress [[Melissa (sorceress)|Melissa]] and a magic ring,<ref>{{Cite book|last=Ariosto|first=Ludovico|title=Orlando furioso: a new verse translation|publisher=The Belknap Press of Harvard University Press|year=2009|isbn=978-0-674-03535-5|pages=41–53|language=English}}</ref> escapes from a castle full of illusions,<ref>{{Cite book|last=Ariosto|first=Ludovico|title=Orlando furioso: a new verse translation|publisher=The Belknap Press of Harvard University Press|year=2009|isbn=978-0-674-03535-5|pages=259–267|language=English}}</ref> and encounters many other difficulties.
-The poems drew from legends of [[Charlemagne]], ''[[chanson de geste|chansons de geste]]'', and blended recurring motifs found in the [[Matter of France]] and the [[Matter of Britain]].<ref name="Giardina, 2014">{{cite news|last1=Giardina|first1=Henry|title=Mad with Desire (Kind Of)|url=http://www.theparisreview.org/blog/2014/06/24/mad-with-desire-kind-of/|access-date=15 July 2016|magazine=Paris Review|date=24 June 2014}}</ref><ref name="Arisoto_Today_2">DeSa Wiggins, Peter in {{cite book|last1=Beecher|first1=Donald|last2=Ciavolella|first2=Massimo|last3=Fedi|first3=Roberto|title=Ariosto Today: Contemporary Perspectives|publisher=University of Toronto Press|year=2003|page=28|url=https://books.google.com/books?id=tpIBDQN2ZGwC&pg=PA28|isbn=0802029671}}</ref><ref name="CHEAL">{{cite book|editor1-last=Ward|editor1-first=Adolphus William|editor2-last=Waller|editor2-first=Alfred Rayney|editor3-last=Trent|editor3-first=William Peterfield|editor4-last=Erskine|editor4-first=John|editor5-last=Sherman|editor5-first=Stuart Pratt|editor6-last=Van Doren|editor6-first=Carl|title=The Cambridge History of English and American Literature|date=1907–1921|publisher=Cambridge University Press|location=Cambridge, U.K.|isbn=1-58734-073-9|page=13|url=http://bartleby.com/211/1306.html|access-date=14 July 2016|chapter=Chapter XIII: Metrical Romances, 1200–1500}}</ref>
+After the lovers are reunited, Rinaldo grants Ruggiero his blessing to marry Bradamante. However, her parents reject the suitor even after Ruggiero converts, preferring Leo, the son of the [[Byzantine Empire|Greek emperor]] Constantine. Bradamante convinces Charlemagne to decree that she will only marry a man who can withstand her in battle, greatly angering her parents, who reluctantly agree. Ruggiero sets off to kill Leo; on the way, he finds the Constantine's forces battling the Bulgarians. Ruggiero immediately enters the battle to assist the Bulgarians, who had been losing, and manages to turn the tide of the battle. However, he is captured and imprisoned by the Greeks. Leo, impressed with Ruggiero's valor, frees him. He then asks for a favor, and Ruggiero, grateful for his freedom, promises to grant whatever Leo asks. Leo, having learned of Bradamante's challenge and knowing he is not strong enough to win against her, asks that Ruggiero fight Bradamante on his behalf. Ruggiero reluctantly keeps his promise and disguises himself as Leo to fight Bradamante. He wins the match and retreats to the woods, wishing to die. There, Leo finds him and asks what is wrong. After Ruggiero reveals his identity and that he is in love with Bradamante, Leo annuls the engagement to let Bradamante and Ruggiero wed.<ref name="Bulfinch1913">{{cite book|last1=Bulfinch|first1=Thomas|author-link1=Thomas Bulfinch|title=The Age of Fable: or Beauties of Mythology|volume=IV: Legends of Charlemagne|date=1913|publisher=Review of Reviews Co.|location=New York|isbn=1-58734-082-8|url=http://www.bartleby.com/183/8.html|access-date=14 July 2016}}</ref><ref>{{Cite book|last=Ariosto|first=Lodovico|title=Sir John Harington's Translation of Orlando Furioso|publisher=Southern Illinois University Press|year=1962|isbn=|pages=535–566|language=English}}</ref> At the end, their marriage gives rise to the noble [[House of Este]], who were patrons to both Boiardo and Ariosto.<ref name="MWEL_1995">{{cite book|author=Merriam-Webster, Inc.|title=Merriam-Webster's Encyclopedia of Literature|url=https://archive.org/details/merriamwebsters00merr|url-access=registration|access-date=15 July 2016|year=1995|publisher=Merriam-Webster|location=Springfield, MA, USA|isbn=978-0-87779-042-6|page=[https://archive.org/details/merriamwebsters00merr/page/166 166]}}</ref><ref name="Ariosto1975">{{cite book|translator-last=Reynolds|translator-first=Barbara|last=Reynolds|first=Barbara|editor-last=Arisoto|editor-first=Ludovico|title=Orlando Furioso: Part I|chapter-url=https://books.google.com/books?id=mC8FJH3j-iEC&pg=PA64|access-date=15 July 2016|date=30 August 1975|publisher=Penguin Group|location=New York, USA|isbn=978-1-101-49280-2|page=64|chapter=Introduction}}</ref>
+The poems drew from legends of Charlemagne, ''[[chanson de geste|chansons de geste]]'', and blended recurring motifs found in the [[Matter of France]] and the [[Matter of Britain]].<ref name="Giardina, 2014">{{cite news|last1=Giardina|first1=Henry|title=Mad with Desire (Kind Of)|url=http://www.theparisreview.org/blog/2014/06/24/mad-with-desire-kind-of/|access-date=15 July 2016|magazine=Paris Review|date=24 June 2014}}</ref><ref name="Arisoto_Today_2">DeSa Wiggins, Peter in {{cite book|last1=Beecher|first1=Donald|last2=Ciavolella|first2=Massimo|last3=Fedi|first3=Roberto|title=Ariosto Today: Contemporary Perspectives|publisher=University of Toronto Press|year=2003|page=28|url=https://books.google.com/books?id=tpIBDQN2ZGwC&pg=PA28|isbn=0802029671}}</ref><ref name="CHEAL">{{cite book|editor1-last=Ward|editor1-first=Adolphus William|editor2-last=Waller|editor2-first=Alfred Rayney|editor3-last=Trent|editor3-first=William Peterfield|editor4-last=Erskine|editor4-first=John|editor5-last=Sherman|editor5-first=Stuart Pratt|editor6-last=Van Doren|editor6-first=Carl|title=The Cambridge History of English and American Literature|date=1907–1921|publisher=Cambridge University Press|location=Cambridge, U.K.|isbn=1-58734-073-9|page=13|url=http://bartleby.com/211/1306.html|access-date=14 July 2016|chapter=Chapter XIII: Metrical Romances, 1200–1500}}</ref> Bradamante and Ruggiero's romance is most likely made to parallel the romance of Angelica and Orlando. Bradamante and Ruggiero's love is reciprocated and honorable, whereas Orlando is driven mad with love and Angelica despises him. Bradamante also spends much of ''Orlando Furioso'' chasing down her love to save him, contrasting with Angelica, who spends most of the story running from Orlando.<ref>{{Cite book|last=Ariosto|first=Lodovico|title=Sir John Harington's Translation of Orlando Furioso|publisher=Southern Illinois University Press|year=1962|pages=IX|language=English}}</ref>
 ==In later works==
-[[File:Bradamante Fiordispina.jpg|thumb|''Bradamante and Fiordispina'' (1632–1635) by [[Guido Reni]]|alt=]]
+[[File:Bradamante Fiordispina.jpg|thumb|left|alt=|''Bradamante and Fiordispina'' (1632–1635) by [[Guido Reni]]]]
 In 1582, French dramatist [[Robert Garnier]] wrote a [[tragicomedy]] named ''Bradamante'' that further develops the love story between the heroine and Roger (Ruggiero).<ref name="Stone2015">{{cite journal|last1=Stone|first1=Donald|title=The Place of Garnier's ''Bradamante'' in Dramatic History |journal=Journal of the Australasian Universities Language and Literature Association|volume=26|issue=1|year=2015|pages=260–271|issn=0001-2793|doi=10.1179/aulla.1966.26.1.007}}</ref>
 Several eponymous operas have been written about the heroine:
-*''La Bradamante'', written by Pietro Paolo Bissari with music composed by [[Francesco Cavalli]], was first performed in 1650 at the [[Teatro Santi Giovanni e Paolo]] of [[Venice]].<ref name="Galvani, 1879">{{cite book|last=Galvani|first=Livio Niso (Giovanni Salvioli)|title=I Teatri Musicali di Venezia nel Secolo XVII (1637-1700): Memorie Storiche e Bibliografiche|trans-title=The Musical Theatre of Venice in the 17th Century (1637-1700): Historical and Bibliographical Memoir |url=https://books.google.com/books?id=1BIYAQAAIAAJ&pg=PA33|access-date=15 July 2016|year=1879|publisher=Arnaldo Forni Editore|location=Milan, Italy|language=it|page=33}}</ref>
+* ''La Bradamante'', written by Pietro Paolo Bissari with music composed by [[Francesco Cavalli]], was first performed in 1650 at the [[Teatro Santi Giovanni e Paolo]] of [[Venice]].<ref name="Galvani, 1879">{{cite book|last=Galvani|first=Livio Niso (Giovanni Salvioli)|title=I Teatri Musicali di Venezia nel Secolo XVII (1637-1700): Memorie Storiche e Bibliografiche|trans-title=The Musical Theatre of Venice in the 17th Century (1637-1700): Historical and Bibliographical Memoir |url=https://books.google.com/books?id=1BIYAQAAIAAJ&pg=PA33|access-date=15 July 2016|year=1879|publisher=Arnaldo Forni Editore|location=Milan, Italy|language=it|page=33}}</ref>
-*''[[Bradamante (opera)|Bradamante]]'', composed by [[Louis Lacoste (composer)|Louis Lacoste]] with a [[libretto]] written by [[Pierre-Charles Roy]], was first performed at the Académie Royale de Musique (the [[Paris Opera]]) on 2 May 1707.<ref name="Clément & Larousse, 1881">{{cite book|last1=Clément|first1=Félix|last2=Larousse|first2=Pierre|title=Dictionnaire des Opéras|trans-title=Dictionary of Operas|year=1881|publisher=Administration du Grand Dictionnaire Universel|location=Paris, France|pages=119|url=https://archive.org/stream/dictionnairedes00cl#page/n7/mode/2up|access-date=15 July 2016|language=fr}}</ref>
+* ''[[Bradamante (opera)|Bradamante]]'', composed by [[Louis Lacoste (composer)|Louis Lacoste]] with a [[libretto]] written by [[Pierre-Charles Roy]], was first performed at the Académie Royale de Musique (the [[Paris Opera]]) on 2 May 1707.<ref name="Clément & Larousse, 1881">{{cite book|last1=Clément|first1=Félix|last2=Larousse|first2=Pierre|title=Dictionnaire des Opéras|trans-title=Dictionary of Operas|year=1881|publisher=Administration du Grand Dictionnaire Universel|location=Paris, France|pages=119|url=https://archive.org/stream/dictionnairedes00cl#page/n7/mode/2up|access-date=15 July 2016|language=fr}}</ref>
-*''Bradamante'', written by [[Heinrich Joseph von Collin]] with music composed by [[Johann Friedrich Reichardt]], was first performed in [[Vienna]] on 3 February 1809.<ref name="Clément & Larousse, 1881" />
+* ''Bradamante'', written by [[Heinrich Joseph von Collin]] with music composed by [[Johann Friedrich Reichardt]], was first performed in [[Vienna]] on 3 February 1809.<ref name="Clément & Larousse, 1881" />
-*''Bradamante'', composed by [[Eduard Tauwitz]], was first performed in [[Riga]] in 1844.<ref name="Clément & Larousse, 1881" />
+* ''Bradamante'', composed by [[Eduard Tauwitz]], was first performed in [[Riga]] in 1844.<ref name="Clément & Larousse, 1881" />
-She also appears as a character in Handel's opera ''[[Alcina]]'' and [[Johann Adolph Hasse]]’s ''[[Il Ruggiero]]''.
+She also appears as a character in Handel's opera ''[[Alcina]]'' and [[Johann Adolph Hasse]]'s ''[[Il Ruggiero]]''.
-Bradamante appears as one of the leading characters in several novels. For example, in [[Italo Calvino]]'s surrealistic, highly ironic 1959 novel [[The Nonexistent Knight|''Il Cavaliere inesistente'']] (The Nonexistent Knight).<ref name="Bloom, 2002">{{cite book|last=Bloom|first=Harold|author-link=Harold Bloom|title=Italo Calvino: Comprehensive Research and Study Guide|url=https://books.google.com/books?id=8oYohENgCe8C&pg=PA82|access-date=20 July 2016|year=2002|publisher=Chelsea House|location=Broomall, PA, USA|isbn=978-0-7910-6824-3|page=82}}</ref>
+Bradamante appears as one of the leading characters in several novels. For example, in [[Italo Calvino]]'s surrealistic, highly ironic 1959 novel [[The Nonexistent Knight|''Il Cavaliere inesistente'']] (''The Nonexistent Knight'').<ref name="Bloom, 2002">{{cite book|last=Bloom|first=Harold|author-link=Harold Bloom|title=Italo Calvino: Comprehensive Research and Study Guide|url=https://books.google.com/books?id=8oYohENgCe8C&pg=PA82|access-date=20 July 2016|year=2002|publisher=Chelsea House|location=Broomall, PA, USA|isbn=978-0-7910-6824-3|page=82}}</ref>
-In cinema, she is depicted by [[Barbara De Rossi]] in the 1983 Italian film ''{{lang|it|Paladini-storia d'armi e d'amori}}'' (also known as ''Paladins—the story of love and arms'' or ''[[Hearts and Armour]]'') – a film based on the legends surrounding the ''[[Paladins|Peers]]'' of [[Charlemagne]].<ref name="Beecher et al, 2003">{{cite book|last1=Beecher|first1=Donald|last2=Ciavolella|first2=Massimo|last3=Fedi|first3=Roberto|title=Ariosto Today: Contemporary Perspectives|url=https://books.google.com/books?id=tpIBDQN2ZGwC&pg=PA209|publisher=University of Toronto Press|location=Toronto, Canada|year=2003|page=209|isbn=0802029671}}</ref>
+In cinema, she is depicted by [[Barbara De Rossi]] in the 1983 Italian film ''{{lang|it|I Paladini: Storia d'armi e d'amori}}'' (also known as ''Paladins: The Story of Love and Arms'' or ''[[Hearts and Armour]]'') – a film based on the legends surrounding the ''[[Paladins|Peers]]'' of [[Charlemagne]].<ref name="Beecher et al, 2003">{{cite book|last1=Beecher|first1=Donald|last2=Ciavolella|first2=Massimo|last3=Fedi|first3=Roberto|title=Ariosto Today: Contemporary Perspectives|url=https://books.google.com/books?id=tpIBDQN2ZGwC&pg=PA209|publisher=University of Toronto Press|location=Toronto, Canada|year=2003|page=209|isbn=0802029671}}</ref>
 She appears as a Lancer class Servant in the mobile game ''[[Fate/Grand Order]]''.
-The mobile game [[Puzzle & Dragons#Monsters|Puzzles and Dragons]] has added her to their roster as "White Feathered Knight, Bradamante" with Active Skill "La Bella Paladina" and Leader Skill "I don't fraternize with weaklings".
+The mobile game ''[[Puzzle & Dragons#Monsters|Puzzles and Dragons]]'' has added her to their roster as "White Feathered Knight, Bradamante" with Active Skill "La Bella Paladina" and Leader Skill "I don't fraternize with weaklings".
 ==See also==
-*[[List of woman warriors in legend and mythology]]
+* [[List of women warriors in folklore]]
-*{{Commons category-inline|Bradamante}}
 ==Notes and references==
@@ Line 75: / Line 76: @@
 ==Further reading==
-* Bateman, J. Chimène. "Amazonian Knots: Gender, Genre, and Ariosto's Women Warriors." MLN 122, no. 1 (2007): 1-23. Accessed June 28, 2020. www.jstor.org/stable/4490786.
+* {{cite journal |last1=Bateman |first1=J. Chimène |title=Amazonian Knots: Gender, Genre, and Ariosto's Women Warriors |journal=MLN |date=2007 |volume=122 |issue=1 |pages=1–23 |doi=10.1353/mln.2007.0022 |jstor=4490786 |s2cid=201782811 }}
+* {{cite journal |last1=Ferretti |first1=Francesco |title=Bradamante elegiaca : costruzione del personaggio e intersezione di generi nell'Orlando furioso |journal=Italianistica |date=2008 |volume=37 |issue=3 |pages=63–75 |jstor=23937902 |url=https://www.torrossa.com/en/resources/an/2207454 }}
-* Ferretti, Francesco. "BRADAMANTE ELEGIACA. COSTRUZIONE DEL PERSONAGGIO E INTERSEZIONE DI GENERI NELL'"ORLANDO FURIOSO"." Italianistica: Rivista Di Letteratura Italiana 37, no. 3 (2008): 63-75. Accessed June 28, 2020. www.jstor.org/stable/23937902.
-* Pavlova, Maria. Review [Reviewed Work: Les Mille et Un Visages de la virago: Marphise et Bradamante entre continuation et variation by Valentina Denzel]. The Modern Language Review 113, no. 1 (2018): 253-55. Accessed June 28, 2020. www.jstor.org/stable/10.5699/modelangrevi.113.1.0253.
+* {{cite journal |last1=Pavlova |first1=Maria |title=Review of Les Mille et Un Visages de la virago: Marphise et Bradamante entre continuation et variation |journal=The Modern Language Review |date=2018 |volume=113 |issue=1 |pages=253–255 |doi=10.5699/modelangrevi.113.1.0253 |jstor=10.5699/modelangrevi.113.1.0253 }}
-* Shemek, Deanna. "Gender, Duality, and the Sacrifices of History: Bradamante in the Orlando Furioso." In: ''Ladies Errant: Wayward Women and Social Order in Early Modern Italy'', pp.&nbsp;77–125. Durham; London: Duke University Press, 1998. Accessed June 28, 2020. doi:10.2307/j.ctv11cw36q.7.
+* {{cite book |doi=10.1215/9780822399896-004 |jstor=j.ctv11cw36q.7 |chapter=Gender, Duality, and the Sacrifices of History |title=Ladies Errant |year=1998 |pages=77–125 |isbn=978-0-8223-2155-2 |last1=Shemek |first1=Deanna |publisher=Duke University Press }}
-* Tomalin, Margaret. "Bradamante and Marfisa: An Analysis of the "Guerriere" of the "Orlando Furioso"." The Modern Language Review 71, no. 3 (1976): 540-52. Accessed June 28, 2020. doi:10.2307/3725747.
+* {{cite journal |last1=Tomalin |first1=Margaret |title=Bradamante and Marfisa: An Analysis of the 'Guerriere' of the 'Orlando Furioso' |journal=The Modern Language Review |date=July 1976 |volume=71 |issue=3 |pages=540–552 |doi=10.2307/3725747 |jstor=3725747 }}
+== External links ==
+* {{Commons category-inline|Bradamante}}
 {{Orlando Furioso}}
@@ Line 88: / Line 92: @@
 [[Category:Characters in Orlando Innamorato and Orlando Furioso]]
 [[Category:Fictional Italian people]]
-[[Category:Fictional knights]]
+[[Category:Fictional female knights]]
-[[Category:Fictional women soldiers and warriors]]
 [[Category:House of Este|*]]

v t e Ludovico Ariosto's Orlando Furioso
Fictional characters	Angelica Bradamante Brandimarte Ruggiero Angelica and Medoro Rodomonte Mandricardo Astolfo Atlantes Brunello Ferragut Sacripante Agolant Duke Aymon Ganelon Marfisa Maugris Melissa Naimon Oliver Pinabel Renaud de Montauban Zerbino Brigliadoro
Historical figures	Roland Charlemagne
Source	Orlando Innamorato by Matteo Maria Boiardo La Spagna Entrée d'Espagne
Films	Hearts and Armour (1983)
Opera	La liberazione di Ruggiero (Caccini, 1625) Il palazzo incantato (Rossi, 1642) Roland (Lully, 1685) Orlando Generoso (Steffani, 1691) Bradamante (Lacoste, 1707) Orlando furioso (Vivaldi, 1714) Orlando (Vivaldi, 1727) Orlando (Handel, 1733) Ariodante (Handel, 1735) Alcina (Handel, 1735) Les Paladins (Rameau, 1760) Roland (Piccinni, 1778) Orlando paladino (Haydn, 1782) Ariodant (Méhul, 1799) Ginevra di Scozia (Mayr, 1801) Bombastes Furioso (Rhodes, 1810)
Art	Roger Freeing Angelica (1873 painting)
Related	The Castle of Iron The Song of Roland Paladin

v t e King Charlemagne and the Matter of France
Key people	Charlemagne Roland Ganelon Naimon Oliver Renaud de Montauban
Paladins and other characters	Agolant Agrican Albracca Angelica Astolfo Atlantes Aude Aymon Baligant Blancandrin Bradamante Bramimonde Brandimarte Brunello Charlot Doon de Mayence Ferragut Fierabras Garin de Monglane Girart de Roussillon Huon of Bordeaux Marfisa Marsile Maugris Melissa Oberon Ogier the Dane Pinabel Rodomonte Ruggiero Sacripante Turpin William of Gellone Zerbino
Horses and other animals	Bayard Gaignun Gramimond Hippogriff Marmorie Passecerf Rabicano Sautperdu Sorel Tachëbrun Tencendur Veillantif
Swords and other objects	Almace Curtana Durendal Hauteclere Joyeuse Murgleys Olifant Précieuse
Places	Aachen La Brèche de Roland Roncevaux Pass
Chansons de geste and other works	The Song of Roland Le Pèlerinage de Charlemagne Chanson de Guillaume Gormond et Isembart The Four Sons of Aymon Karlamagnús saga Orlando Innamorato Orlando Furioso Morgante