Certainly if the reader will try the experiment of following them through with models or chessmen, it will be found that every detail is clearly accounted for. To do so, greatly heightens appreciation of the verse and also reveals the three-dimensional nature of Ariosto’s art.1

Ariosto surpasses himself in the intricacy he devises for a series of quarrels which spring up among the pagans as a result of Dame Discord’s renewed efforts, urged on by the enraged Archangel Michael. The multiple combat near Merlin’s fountain in Canto xxvI²2 is left unconcluded : Ruggiero has not regained Frontino from Rodomonte, Mandricardo and Ruggiero still deny each other’s right to the Trojan eagle, Rodomonte and Mandricardo are still rivals for the hand of Doralice, and Marfisa has still to avenge the affront she has suffered from Mandricardo. After slaughtering many of the Christians encamped outside Paris, where they are joined by Sacripante and Gradasso, the disputants go before Agramante to obtain a decision as to the order in which they may settle their various claims and resentments. Agramante decides that they must draw lots.

Taking four slips of paper, the king wrote

First ‘Mandricardo–Rodomont’ on one;

‘Ruggiero-Mandricardo’, he next put;

‘Ruggiero–Rodomonte’, he went on;

‘Marfisa–Mandricard’ was the fourth note,

And to the goddess Chance, when this was done,

He left the choice; and she that day decreed

That Rodomont and Mandricard should lead.3

Mandricardo and Ruggiero are to fight second, Ruggiero and Rodomonte shall fight third, the fourth combat shall be that between Marfisa and Mandricardo.

In one pavilion Rodomonte is arming, with the assistance of

Sacripante and Ferraù; in the other, Mandricardo is being assisted by Gradasso and Falsirone. Gradasso is about to hand Mandricardo his sword when he sees from the lettering engraved upon it that it is Durindana, Orlando’s sword which Mandricardo seized and to which Gradasso has long laid claim. He challenges Mandricardo for it, requesting him to ask Rodomonte to defer the present combat. Ruggiero refuses to consent to a change in the battle-order unless he himself is moved to first place. Mandricardo, enraged, strikes the sword from Gradasso’s hand and is prepared to fight Gradasso, Rodomonte and Ruggiero simultaneously. Ruggiero and Gradasso fight for precedence; others unwisely intervene.

Only the entrance of Agramante with Marsilio halts the commotion. As Agramante tries to reason with the disputants, a clamour breaks out in Rodomonte’s pavilion: Sacripante has recognized Frontino, the horse which was stolen from him by Brunello; he claims it but tells Rodomonte that he gives him leave to ride it in the coming combat. Rodomonte refuses to admit Sacripante’s claim to the horse and they begin to duel. Those standing by join in and so great is the uproar that Agramante leaves Marsilio to hold the situation in Mandricardo’s pavilion and goes to try to resolve the matter of the horse. Marfisa joins them and recognizes Frontino as the horse which Brunello stole on the occasion when he also stole her sword. Brunello is pointed out to her and she at once asserts her right to deal with him as she thinks fit. Agramante is put out by this and is on the point of challenging her, but is dissuaded by Sobrino and allows her to depart.

There now remain five cavaliers who desire to fight one another and who clamour for precedence: Rodomonte, Ruggiero, Mandricardo, Gradasso, and Sacripante. Ariosto’s pleasure in this complexity is clearly seen in the following lines:

There are five cavaliers whose minds are set

On fighting first, although the battle-list

Presents a tangled skein more intricate

Than all Apollo’s wisdom could untwist.1

Agramante begins by trying to bring about a reconciliation between Mandricardo and Rodomonte, the rivals for Doralice. They will not budge. At last he asks if they will be content to let Doralice choose between them. Since each is confident of being chosen, they agree. Doralice chooses Mandricardo. Rodomonte, in deep dejection, rides away on Frontino; Sacripante rides after him in an attempt to regain the horse.

This leaves Ruggiero and Mandricardo who contest each other’s right to the Trojan eagle, and Gradasso who claims Durindana which Mandricardo has seized from Orlando. Agramante suggests that these two disputes shall be settled as one: let it be decided by lot whether Ruggiero or Gradasso shall fight Mandricardo and let the victory or defeat count for both. They agree, and Ruggiero’s name is drawn. Mandricardo is killed. Durindana is awarded to Gradasso; Brigliadoro, Orlando’s horse, which Mandricardo was riding, is given to Agramante. Ruggiero keeps Mandricardo’s armour.

The tangle is thus untied. The transference of horses, swords and armour continues to be significant. In the final combat between three Christians and three pagans on the island of Lampedusa, Durindana is wielded by Gradasso, who rides Baiardo (Rinaldo’s horse); Frontino is ridden by Brandimarte; Ruggiero’s sword, Balisarda, is wielded by Orlando; and Ruggiero’s armour (once Mandricardo’s) is worn by Oliver. The vicissitudes by which all these displacements come about are clearly accounted for.