Honor and Reputation

Where it surfaces

• Canto I

  Ferraù's shame at being called a perjured traitor drives him to swear a new vow.

• Canto V

  Geneura's honor is at stake as she is falsely accused; the canto explores how reputation can be ruined by slander and restored through combat and truth.

• Canto IX

  Orlando refuses to smite sleeping foes, deeming it base, and later gives his solemn word to help Olympia, highlighting the importance of honor.

• Canto XIV

  Mandricardo's envy of Orlando's martial feats drives his quest, highlighting the importance of glory and renown among knights.

• Canto XVII

  Gryphon's honor is shattered by false accusations; the tournament serves as a public stage for shame and mockery.

• Canto XVIII

  Gryphon's vengeance is driven by the stain on his honor, while Medoro seeks to honor his master with a proper burial.

• Canto XXI

  Philander's concern for his honor and reputation drives his actions, even when faced with false accusations.

• Canto XXII

  The knights from the castle are shamed by being forced to fight together against one; they insist on single combat to preserve their honor.

• Canto XXIV

  Zerbino's defense of Durindana and his refusal to yield the sword without a fight underscores the chivalric code of honor.

• Canto XXV

  Rogero fears shame if he abandons his king, and writes to Bradamant to justify his actions to preserve his honor.

• Canto XXVI

  Rogero's pursuit of Frontino is driven by honor and the need to avenge the theft; Rodomont's refusal to fight is motivated by his duty to his king.

• Canto XXVII

  Sacripant and Rodomont quarrel over the horse Frontino, each asserting their right and honor.

• Canto XXVIII

  The characters' actions are driven by concerns about honor and reputation, particularly in matters of marital fidelity.

• Canto XXIX

  Isabella's sacrifice to preserve her chastity and her vow to Zerbino exemplifies the theme of honor, while Rodomont's later actions seek to restore his reputation through a monument.

• Canto XXX

  Mandricardo's insistence on the duel over the eagle emblem and Rogero's desire to prove his right to bear it reflect the importance of honor and reputation.

• Canto XXXI

  Rinaldo's determination to wipe away shame and the knights' concern for their reputations in combat.

• Canto XXXII

  Rumors about Rogero and Marphisa spread through the camp, affecting Bradamant's sense of honor and driving her to seek vengeance.

• Canto XXXIII

  Knights are shamed by being unhorsed by a woman, leading them to swear off arms for a year to restore their honor.

• Canto XXXV

  Bradamant's challenge to Rodomont and her demand for the release of prisoners are driven by a code of honor and the pursuit of glory.

• Canto XXXVI

  The combat between Bradamant and Marphisa is driven by perceived slights and the defense of personal honor.

• Canto XXXVII

  Marphisa and Ulania seek to restore honor after Marganor's insult; Drusilla avenges her husband's murder.

• Canto XXXVIII

  Rogero's duty to his liege lord and the importance of honor over personal desire are emphasized.

• Canto XL

  Rogero struggles with his oath to Rinaldo versus his duty to Agramant, fearing accusations of baseness or fear.

• Canto XLI

  Rogero's courtesy in sparing Dudon and Agramant's refusal to act unworthy of a king highlight the importance of honor.

• Canto XLII

  Orlando's vengeance for Brandimart and the cup's test of a wife's faithfulness underscore concerns with honor.

• Canto XLIV

  Rogero's lament over his lack of wealth and status, and Bradamant's bold petition to choose her own husband, both center on personal honor and reputation.

• Canto XLV

  Rogero's internal conflict between his love for Bradamant and his sworn promise to Leo drives the chapter, highlighting the primacy of honor over personal happiness.

• Canto XLVI

  Both Rogero and Leo act to preserve honor, with Leo refusing to win Bradamant through Rogero's death.

• Endnotes

  Covers chivalric vows, the contrast between Rinaldo's rapacity and Orlando's disinterestedness, and the formal plighting of troth.