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Astolfo
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Astolfo (also Astolpho, Estous, and Estouls) is a fictional character in the Matter of France where he is one of Charlemagne's paladins. He is the son of Otto, the King of England (possibly referring to Charles' contemporary Offa of Mercia), and is a cousin to Orlando and Rinaldo, and a descendant of Charles Martel. While Astolfo's name appeared in the Old French chanson de geste The Four Sons of Aymon, his first major appearance was in the anonymous early fourteenth-century Franco-Italian epic poem La Prise de Pampelune.[1] He was subsequently a major character (typically humorous) in Italian Renaissance romance epics, such as Morgante by Luigi Pulci, Orlando Innamorato by Matteo Maria Boiardo, and Orlando Furioso by Ludovico Ariosto.
Astolfo in Orlando Furioso
[edit],_1822-27,_astolfo_sulla_luna_col_carro_di_elia_02.jpg)
When first introduced, Duke Astolfo is trapped in the form of a myrtle tree by means of the evil sorceress Alcina's magic. When Ruggiero attempts to tether his hippogriff to the unlucky man, Astolfo protests, lamenting his fate. Although the two converse at length, Ruggiero does not heed the duke's advice to avoid Alcina and he soon becomes bewitched as well. Both are, however, rescued and returned to normal by Melissa, the good sorceress.[2]
Astolfo possesses various magical equipment which he employs throughout his adventures. His magical golden spear can knock opponents off their horses with the slightest touch, and his magic book contains spells capable of breaking any enchantment and was very easy to consult thanks to its alphabetical index. He also owns a magic horn, whose blast is so loud that it causes all enemies to flee in terror and rides upon a horse named Rabicano. This magical horse is made of hurricane and flame, feeds on air and it treads so lightly that it doesn't leave footprints in the sand, and when it runs at full speed it can run faster than an arrow.[3]
Astolfo defeated the giant Caligorante, who threw a net stolen from the temple (one that Hephaestus had used to capture Aphrodite and Ares during their adultery), then trapped and devoured all the travelers who passed near him. The hero managed to defeat him thanks to the noise of his magic horn that scared Caligorante, who ended up falling into his own net. After defeating him Astolfo parades the giant from city to city, forcing him to act as his beast of burden. He also defeats Orillo, a thief who could not be killed because he was enchanted to regenerate from any injuries he received. Even amputated limbs would be reattached. Astolfo defeated him after looking up his name in the index of his spell book, thus discovering that to defeat him he had to remove all the hair from his head, knowing this Astolfo proceeds to cut off Orillo's head and then escape on his horse while the thief's headless body chases him, after getting far enough away Astolfo sits with the thief's head on his knees and proceeds to cut his hair with his sword, thus killing Orillo.[4] Astolfo loans his golden lance and Rabicano to Bradamante for a short time while he rides the hippogriff in search of Orlando's lost wits.[5]
Astolfo travels to Ethiopia where he met Senapo (Prester John), the emperor of that land. In a situation similar to the story of Phineus from Greek mythology, Senapo is blind and plagued by harpies who attack him whenever he tries to eat a meal, spilling the glasses and befouling the food. Astolfo blows his horn and chases the harpies through the entrance to Hell, and seals them inside. He flies the hippogriff to the summit of the mountain of Terrestrial Paradise, where he meets Saint John the Apostle, who explains how he could return Orlando to his senses. He flies in Elijah's flaming chariot to the Moon, where all things lost upon the Earth end up, and locates Orlando's wits in a bottle.[6] He returns to Earth and gains Senapo's aid in the defense of Paris from the Saracen invaders.
Astolfo has been much analyzed as a mythical hero. From Ferrero [7] (1961) to Santoro [8] (1973) and Vallecalle [9] (1998), and into the twenty-first century, the transformation of the Old French Estout through Franco-Italian poems to Ariosto's masterpiece continues to fascinate readers.
Origin of the name
[edit]It derives from the Germanic name Haistulf, a name composed of haist (of uncertain meaning, perhaps "furious", "violent") or perhaps ast ("rod", "spear"), and vulf ("wolf")
In modern times
[edit]- A species of extinct rail was named in honor of Astolfo: Gallirallus astolfoi, or Astolfo's rail.[10]
- An interpretation of Astolfo appears in the Japanese light novel, manga, and anime television series Fate/Apocrypha, and was later also featured in the video game Fate/Grand Order. His popularity as a character in the Fate franchise was deemed to surpass the popularity of the original in modern times. This phenomenon was also observed for other characters in the Fate franchise in a 2021 study, within which the authors named said phenomenon "The Astolfo Effect".[11]
References
[edit]- ^ Peter Brand and Lino Pertile (1996). The Cambridge History of Italian Literature. Cambridge: Cambridge University Press, p. 168.
- ^ Orlando Furioso VIII: 15–22
- ^ Orlando Furioso XV: 40–41
- ^ Orlando Furioso XV: 81–87
- ^ Orlando Furioso XXIII: 14–16
- ^ Orlando Furioso XXXIV: 87
- ^ Giuseppe Guido Ferrero, "Astolfo (Storia di un personaggio)," "Convivium", XXIV, 1961, pp. 513-530.
- ^ Mario Santoro, "L'Astolfo ariostesco: 'homo fortunatus'," Letture ariostesche, ed. Mario Santoro. Naples: Liguori, 1973, pp. 135-214.
- ^ Jean-Claude Vallecalle, "Fortitudo e Stultitia: remarques sur le personnage d'Estout dans les chansons de geste," in Miscellanea mediaevalia, ed. Jean-Claude Faucon, Alain Labbé, Danielle Queruel, Paris, Champion, 1998, 2, pp. 1423-1434.
- ^ Salvador, Rodrigo B.; Anderson, Atholl; Tennyson, Alan J.D. (2021). "An Extinct New Rail (Gallirallus, Aves: Rallidae) Species from Rapa Island, French Polynesia". Taxonomy. 1 (4): 448–457. doi:10.3390/taxonomy1040032.
- ^ Tomotani, João V.; Salvador, Rodrigo B. (2021). "The Astolfo Effect: the popularity of Fate/Grand Order characters in comparison to their real counterparts". Journal of Geek Studies. 8 (2): 59–69. doi:10.5281/zenodo.8241594.
- Ariosto, Ludovico; and Waldman, Guido (translator) (28 January 1999). Orlando Furioso. Oxford. ISBN 0-19-283677-3.
Astolfo
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Astolfo is a fictional knight and paladin of Charlemagne in the medieval Matter of France literary cycle, most prominently featured in Ludovico Ariosto's epic poem Orlando Furioso (first published in 1516 and revised in 1532), where he serves as the son of King Otho of England and a cousin to the protagonists Orlando (Roland), Rinaldo, Bradamante, and Ricciardetto.[1] Renowned for his blend of bravery, naivety, and comic relief amid the chivalric romance's fantastical elements, Astolfo embarks on extraordinary adventures that highlight themes of redemption, exploration, and Christian piety, including his transformation into a myrtle tree on the sorceress Alcina's enchanted island and his purgatorial trials in the Indian Ocean.[2][3]
Equipped with the magical horn known as the Olifant—which emits a blast audible from miles away capable of terrifying foes and shattering enchantments—and his swift horse Rabicano, Astolfo plays a pivotal role in advancing the poem's plot through his quests, such as liberating himself from Alcina's spells and aiding allies like Ruggiero.[1][4] One of his most celebrated exploits involves mounting the mythical hippogriff to journey to Ethiopia, where he assists the blinded king Senapo (identified with the legendary Prester John) by slaying a harpy tormenting him, thereby securing a massive allied army for the Christian forces against the Saracens.[2][5] Astolfo's lunar voyage, guided by Saint John the Evangelist in a fiery chariot reminiscent of Elijah's, sees him discover a valley on the Moon containing lost human wits, from which he retrieves Orlando's sanity in a phial, restoring the mad paladin and enabling the Christians' ultimate victory, including the sack of Biserta.[2][6] In the poem's final phases, Astolfo evolves into a miles Christi (soldier of Christ), combining military prowess with religious leadership to symbolize the Crusading zeal that resolves the epic's conflicts between Christians and Muslims.[2]
Literary Origins
Precursors in Medieval Literature
Astolfo's character originates in the medieval Carolingian cycle of chansons de geste, where he first appears as a minor but recurring paladin of Charlemagne, known in French as Estout or Estouls, the son of the English king Otto. His debut occurs in the 12th-century Chanson d'Aspremont, an Old French epic likely composed in southern Italy, in which he serves as an English knight aiding Charlemagne's forces against the Saracen king Agolant during the invasion of Calabria.[7] In this work, Astolfo is depicted as a loyal warrior participating in the initial battles of the cycle, contributing to the Christian victory at Aspremont through his combat prowess against the pagan army, though his role remains secondary to that of Roland and Oliver.[7] The character's traits begin to solidify in the 14th-century franco-italian L'Entrée d'Espagne, marking his true emergence as the Astolfo familiar from later traditions, where he is portrayed as a brave yet comically inept paladin often providing humorous relief amid the epic's serious tone.[8] Here, Estout demonstrates unwavering loyalty to Charlemagne and Roland, joining the expedition into Spain to confront Baligant and the Saracen forces, including key engagements that foreshadow the betrayal at Roncevaux Pass. His comic elements manifest in scenes of mishaps during battles and interactions with fellow knights, such as his awkward attempts at heroism that elicit laughter from companions, while still highlighting his valor in supporting Roland against overwhelming odds.[8] In subsequent texts of the cycle, such as the late 13th-century Huon de Bordeaux and its continuations, Astolfo evolves from a peripheral figure to a more defined companion in the fight against Saracens, emphasizing his role as a steadfast ally to Charlemagne's court without the supernatural exploits of later portrayals.[9] Similarly, in Les Enfances Roland, a 13th-century chanson focusing on Roland's youth, Astolfo appears as a young paladin involved in early skirmishes against pagan foes, underscoring his bravery and bond with Roland in precursor events to the Roncevaux disaster.[10] By the 14th century, in franco-italian works like Aquilon de Bavière, Astolfo becomes a recurring presence in the unified Carolingian legend, blending his established loyalty and comic traits into broader narratives of chivalric quests, where he aids in defending Christendom and supports key figures like Roland in prolonged campaigns against infidels.[11] These medieval depictions establish Astolfo's foundational attributes—courage tempered by humor and unyielding fidelity—setting the stage for his expanded role in Renaissance epics.Role in the Charlemagne Cycle
Astolfo emerges as a prominent figure among Charlemagne's Twelve Peers in the Matter of France, the collective body of medieval French epics known as the Carolingian cycle. As the son of Otto, King of England, his English heritage underscores the symbolic Anglo-Frankish alliances central to these narratives, portraying unity among Christian realms against Saracen threats. This representation is evident in key chansons de geste such as L'Entrée d'Espagne, an anonymous early fourteenth-century poem that marks his major debut as a jovial yet brave paladin engaging in the invasion of Spain.[12] In the broader cycle, Astolfo contributes to pivotal episodes that advance the epic's martial and crusading motifs, including his role in the siege of Paris against invading Saracens and the defense against the emir Baligant in extensions of The Song of Roland. These extensions expand the original poem's Roncevaux betrayal into larger campaigns, where Astolfo fights alongside peers like Roland and Oliver, emphasizing collective heroism in repelling Muslim incursions into Frankish territory. His actions in these battles highlight his prowess as a knight, often injecting humor through his perpetual jesting, which lightens the grim tone of the sieges and combats.[12][13] Later texts within the cycle depict Astolfo as a skilled equestrian and ally to magicians like Malagigi, incorporating early fantastical elements such as enchanted aids and prophetic visions that aid the Christian cause. These portrayals foreshadow the more elaborate magical adventures in Renaissance elaborations, positioning him as a bridge between historical chivalric deeds and supernatural quests.[12] Scholarly examinations of Astolfo's role emphasize his function in reinforcing themes of chivalric honor and the Christian crusade, particularly in thirteenth- and fourteenth-century Italian adaptations that integrated French epics into local traditions. Works like those of Niccolò degli Agostini, who extended Boiardo's Orlando Innamorato in the early sixteenth century, amplify Astolfo's contributions to moral and ideological narratives, portraying him as an exemplar of faithful service amid trials of faith and battle. This evolution underscores his transition from a peripheral warrior to a multifaceted symbol of medieval Europe's aspirational knightly ideals.[13][14]Portrayal in Orlando Furioso
Character Introduction and Traits
Astolfo is introduced in Canto IV of Ludovico Ariosto's Orlando Furioso (1516) as a bold paladin of Charlemagne and duke of England, son of King Otone and cousin to Orlando and Rinaldo. He appears as part of a group of English knights pursuing a mysterious lady, showcasing his impulsive bravery by charging ahead without hesitation upon recognizing potential allies. Ariosto describes him with blonde hair, a youthful and vigorous physique, and an androgynous beauty that blends masculine strength with delicate, almost feminine charm, emphasizing his role as a captivating figure amid the epic's chivalric ensemble.[15] Astolfo's core traits include bravery often tempered by naivety and a lighthearted humor that positions him as comic relief within the poem's exploration of madness and folly. His penchant for magical aids, such as the enchanted horn and book bestowed by Logistilla, underscores his whimsical reliance on supernatural elements to navigate dangers, reflecting a blend of heroic daring and childlike credulity. These qualities provide levity amid the narrative's darker themes of unrequited love and insanity, allowing Ariosto to inject satire into the chivalric tradition through Astolfo's often absurd yet earnest interventions.[16] Symbolically, Astolfo embodies Renaissance humanism by merging chivalric ideals of courage and loyalty with human folly, evident in his impulsive decisions that lead to both triumphs and mishaps. Ariosto employs him to critique courtly love's excesses, highlighting the poem's broader commentary on the irrationality of passion and the limits of rational heroism in a chaotic world.[17][18]Major Adventures and Quests
In Canto XV, Astolfo battles and defeats the giant Caligorante using his enchanted lance, demonstrating his prowess with magical artifacts while traveling through the Holy Land.[19] Astolfo's visit to Ethiopia begins in Canto XXXIII, where he rides the hippogriff to the court of the blind Emperor Senapo (also known as Prester John), who is tormented by harpies fouling his food. Astolfo uses his magical horn, the Olifant, to scare the harpies away and pursues them to a cavern, sealing it to trap them. Senapo, blinded as divine punishment for attacking the terrestrial Paradise, remains sightless at this point. This intervention alleviates Senapo's hunger but underscores Astolfo's role in providing miraculous relief through chivalric and supernatural means.[20] Following this, in Canto XXXIV, Astolfo ascends to the Moon in Elijah's fiery chariot, guided by Saint John the Evangelist. There, he discovers a vast valley filled with vials containing the wits of the mad, including Orlando's, which he retrieves to restore his comrade's sanity upon return. The lunar landscape, described as a repository of forgotten objects like aborted plans and broken vows, highlights themes of vanity and ephemerality in the poem. This episode, echoing classical and medieval visionary traditions, serves as a meta-commentary on the epic's own narrative excesses.[21][22] After descending from the Moon, Astolfo returns to Senapo in Canto XXXVIII. Saint John provides him with a medicinal herb, which Astolfo uses with prayers to restore the emperor's sight. In gratitude, Senapo supplies Astolfo with a massive army to aid the Christians against the Saracens.[23] Earlier in the tale, Astolfo's quest on the enchanted island of Alcina involves perilous magical transformations and confrontations that test his resolve. Transformed into a myrtle bush by the sorceress Alcina after succumbing to her illusions, Astolfo is liberated by Melissa, who entrusts him with enchanted artifacts including a book of spells and a horn whose blast induces terror in foes. These elements, obtained through a prophetic oracle's guidance on the island, enable Astolfo to navigate Alcina's deceptive paradise and escape its voluptuous traps, contributing to the broader unraveling of enchantments plaguing the knights.[24] In Canto XXXIX, Astolfo coordinates with other knights, including Ruggiero and Bradamante, to subdue the mad Orlando and restore his sanity by administering the retrieved wits. He deploys the magic horn to scatter potential threats and uses the spell book as needed during the ritual.Relationships with Other Knights
Astolfo maintains a profound friendship with Orlando, the foremost paladin of Charlemagne, marked by mutual support in combat and personal crises. Together, they participate in key battles against the invading Saracen army led by Agramante, where Astolfo's arrival with reinforcements bolsters the Christian forces, including Orlando, during the siege of Paris in Canto 40. This camaraderie peaks when Astolfo undertakes a perilous journey to the moon to retrieve Orlando's scattered wits, lost to madness over his unrequited love for Angelica; upon returning in Canto 39, Astolfo coordinates with other knights to subdue and restore Orlando's reason.[25] Astolfo also forges alliances with Ruggiero and Bradamante, pivotal figures whose romance symbolizes the union of Christian and pagan lineages. After being enchanted and transformed into a myrtle tree by the sorceress Alcina on her island, Astolfo benefits from the interventions that free Ruggiero from the same enchantress's grasp, facilitated by Bradamante and the fairy Melissa, thereby linking their fates in Canto 10. Later, in Canto 32, Astolfo leaves the magical lance for Bradamante, empowering her to overcome obstacles in her pursuit of Ruggiero and ensuring their eventual marriage. These acts highlight Astolfo's role as a facilitator in their love story, blending chivalric aid with narrative resolution.[26] Astolfo's interactions with Saracen knights like King Sacripante reflect broader Christian-pagan tensions in the epic's ensemble dynamics, though Sacripante perishes before fuller collaboration. Astolfo exhibits a mentorship dynamic with younger paladins, such as guiding Ruggiero indirectly through shared artifacts like the hippogriff in Canto 22, which Astolfo later uses to advance collective quests.[27] This supportive posture underscores Ariosto's satirical exploration of chivalric brotherhood, where loyalty and aid transcend individual rivalries to sustain the paladin order.[28]Etymology
Historical Name Origins
The name Astolfo derives from the Germanic personal name Aistulf (also spelled Haistulf or Heistulf), composed of the Old High German elements *haistiz or *heisti, meaning "violent," "furious," or "hasty," and *wulfaz, meaning "wolf." This etymology reflects a common pattern in early medieval Germanic nomenclature, where compound names incorporating animal elements like "wolf" evoked qualities of ferocity, strength, and guardianship.[29][30] The character's name first appears in literary records in the late 12th-century Old French chanson de geste La Chanson d'Aspremont (c. 1190), where the figure is rendered as Estout or Estouf, portraying him as one of Charlemagne's paladins in battles against Saracen forces in Calabria. This debut likely draws inspiration from the historical Aistulf, the 8th-century Lombard king (r. 749–756), whose Latinized name Haistulfus preserved the Germanic roots and who was known for his aggressive expansions into papal territories.[7][29] In Carolingian literature, the name underwent phonetic adaptations across languages, evolving into Italian Astolfo through vowel shifts and simplification of initial consonants to fit Romance phonotactics, while French variants like Estout, Estous, and Estouls emerged in manuscripts, emphasizing the "st" cluster and nasal endings. These variations highlight the transmission of Germanic names via Frankish and Italian epic traditions during the High Middle Ages. The name lacks direct connections to biblical or classical sources, though scholars note its alignment with broader European folklore motifs, where "wolf"-bearing names in heroic tales symbolize untamed valor and pack loyalty, as seen in Germanic sagas predating the Carolingian cycle. In later works such as Ludovico Ariosto's Orlando Furioso (1516), the name Astolfo was retained for the English knight, building on these medieval foundations without altering the core etymological form.[31]Interpretations in Scholarship
Scholarly analyses of knightly names in Ariosto's work have explored onomastic elements to highlight themes of chivalric satire.[17]Modern Depictions and Legacy
Adaptations in Anime and Video Games
Astolfo first appeared in Japanese media through Type-Moon's Fate/Apocrypha light novel series, serialized from 2012 to 2014, where he is summoned as the Rider-class Servant of the Black Faction during the Great Holy Grail War.[32] In this adaptation, Astolfo is depicted as an androgynous knight with light pink shoulder-length hair, a long braid adorned with ribbons, and purple eyes, emphasizing his optimistic and carefree personality while serving under the mage Celenike Icecolle Yggdmillennia before forming a bond with the homunculus Sieg.[33] His abilities include expert riding skills (A+ rank), allowing him to mount mythical creatures like the Hippogriff—a Noble Phantasm that enables high-speed aerial assaults—and later the dragon form assumed by Sieg, facilitating dramatic battles in the story's climax.[33] The 2017 anime adaptation by A-1 Pictures faithfully reproduced this portrayal, introducing Astolfo to a broader audience through animated sequences showcasing his whimsical combat style and loyalty. Astolfo's role expanded significantly in the mobile game Fate/Grand Order (FGO), released in 2015 for Japan and 2017 internationally, where he serves as a summonable Rider-class Servant with quick-type attacks and support skills.[34] In FGO's main storyline and events, such as the Agartha Singularity chapter, Astolfo aids the protagonist Ritsuka Fujimaru in resolving singularities, utilizing his signature Noble Phantasms like the terror-inducing magical horn La Black Luna, which debuffs enemies with fear, and the evasive Hippogriff for rapid deployment and evasion.[34] Special summer events highlight his playful side, with alternate costumes and scenarios involving beach adventures that incorporate his horn and mount for comedic and tactical gameplay elements.[34] In terms of personality, Astolfo (Rider) in Fate/Grand Order is characterized as eternally optimistic and "curiosity in human form," completely lacking in rationality and sense, making impulsive decisions based on what "feels good" rather than logic or merit, and acting without regret. He is a prolific talker prone to rambling and social awkwardness, inherently good-natured with a Chaotic Good alignment, loyal, straightforward, and openly affectionate regardless of gender. He greatly enjoys physical form and worldly pleasures, has no specific wish for the Holy Grail, and his motivation fluctuates depending on his fondness for his Master.[35][36] A Saber-class variant was added in 2019, shifting his focus to single-target quick damage while retaining core traits like Monstrous Strength for burst power.[37] As of 2025, Astolfo continues to appear in FGO events, including a New Year's Pickup Summon for his Saber variant in January 2025.[38] Beyond Fate/Apocrypha and FGO, Astolfo appears in other video games within the Fate universe, such as Fate/EXTELLA LINK (2018), where he joins as a playable Rider-class character fighting in hack-and-slash battles across lunar and planetary stages, emphasizing his aerial mobility and lance attacks. His design in these adaptations draws from Ludovico Ariosto's Orlando Furioso, incorporating motifs like cross-dressing episodes and the quest to the moon for lost wits, reinterpreted with a deliberately feminine, pink-haired aesthetic to enhance appeal in otaku-oriented media.[33]Influence in Popular Culture and Memes
Astolfo's portrayal in the 2017 anime adaptation of Fate/Apocrypha propelled the character to prominence as an internet icon, particularly within anime fandoms, where his androgynous appearance and cheerful demeanor sparked widespread discussions on gender presentation in media.[39] This surge in popularity, often termed the "Astolfo Effect," describes how the modern depiction has overshadowed the historical figure from the Charlemagne romances, with Google searches for Astolfo predominantly yielding results related to the Fate version rather than the original literary paladin.[40] Online communities frequently debate Astolfo as "best girl" in contexts involving "trap" characters—terms used for effeminate male figures—highlighting his role in challenging traditional gender norms through fan discourse and artwork. Fan communities have produced extensive fanart and AI-generated images depicting Astolfo in femboy-style outfits, such as crop tops, white shorts, and brown bags, often posed in bedroom settings, as a common theme reflecting his androgynous appearance in the Fate adaptations; these depictions are widely shared on sites like Danbooru, Reddit, and Twitter.[41] Memes centered on Astolfo's design emphasize cross-dressing humor and his optimistic personality, with templates often portraying him in exaggerated, lighthearted scenarios that play on his feminine attire and paladin heritage. Common examples include image macros depicting Astolfo in adventurous or comedic situations, which proliferated on platforms like Twitter and Pinterest following the anime's release, contributing to his status as a staple in anime meme culture.[39] These memes have extended beyond niche anime circles, influencing broader internet humor around femboy aesthetics and gender fluidity. In Western media, Astolfo has appeared in referential nods, such as the Yu-Gi-Oh! Trading Card Game's "Infernoble Knight Astolfo" monster card, which draws on his effeminate traits and knightly theme from the Fate iteration, blending Japanese pop culture with card game mechanics popular in the West.[42] Additionally, studies on the globalization of Renaissance literature highlight how adaptations like Astolfo's amplify the international reach of medieval European narratives through modern anime and gaming.[40]References
- https://en.wiktionary.org/wiki/Astolfo