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• 1 2015-07-29T17:20:17-07:00 Orlando Furioso 15 image_header 2024-01-03T18:39:31-08:00
  In Orlando Furioso, first printed in Ferrara in 1516, Ariosto delves into the Matter of France, updating the stories of Charlemagne and his paladins at war with the Saracens with more worldly and whimsical considerations, include a foray to an Ethiopia drawn from the tales of Prester John. In other words, though the text cites as its source the twelfth-century "Song of Roland," Furioso updates the story to suit the imaginiative interests of the time and to satisfy his patron Ippolito Este, Duke of Ferrara. The text has been cited as an influence on the work of Edmund Spenser, William Shakespeare, and John Milton, among other canonical early modern writers. 
  
  Orlando Furioso features an Ethiopian priest-king called Senapo/Senapus (a corrupted translation of Abdes-Salib, the Arabic title for the Ethiopian king) who rules over an immensely wealthy kingdom and controls the flow of the Nile River—the very river that dashed crusader hopes during the Fifth Crusade.
   

  Its story of the English Knight Astolfo (a potential avatar of Mandeville, according to Niayesh) and his journey on a hippogriff across North Africa from west to east and thence to Ethiopia appeared at the appropriate moment to sustain interest in this imaginary land. In Canto XXXIII, Astolfo rescues Senapo, who has been rendered blind after trying to discover the Earthly Paradise by seeking out the source of the Nile River. 
  
  Ariosto’s is a highly satirical text, his inclusion of the legend shows how, even in the sixteenth century, writers were still attempting to create a plausible backstory to unite the imaginative interest in the legend with a history from which he may have emerged. 
  
  Interestingly, the character of Senapo reemerges in Gerusalemme Liberata, a 1581 epic of the Crusades credited to Torquato Tasso. 

  
  An excerpt from the William Stewart Rose translation of the expanded version, first published in 1532, follows:

  In Aethiopia’s realm Senapus reigns,

  Whose sceptre is the cross; of cities brave,

  Of men, of gold possest, and broad domains,

  Which the Red Sea’s extremest waters lave.

  A faith well nigh like ours that king maintains,

  Which man from his primaeval doom may save.

  Here, save I err in what their rites require,

  The swarthy people are baptized with fire.

  Ariosto offers a description of the castle and explains the situation:

  The soldan, king of the Egyptian land,

  Pays tribute to this sovereign, as his head,

  They say, since having Nile at his command

  He may divert the stream to other bed.

  Hence, with its district upon either hand,

  Forthwith might Cairo lack its daily bread.

  Senapus him his Nubian tribes proclaim;

  We Priest and Prester John the sovereign name.

  
  Rogers (pp. 106-107), on Senapo and his connection to Prester John:

  [The story's] astonishing accuracy in detail can only be explained by the supposition of meticulous study on the part of its author. For Astolfo’s route and for the name ‘Senapo,’ Ariosto followed a fourteenth-century Genoese tradition. Senapo, as such competent scholars as Cerulli and Crawford affirm, is a deformation of the regnal name of an emperor whose reign extended from 1314 to 1344: ‘Amda Seyon I. His regnal name of Gabra Masqal (in Arabic ‘Abd al-salib) meant ‘slave of the cross.’ The Arabic version appeared as ‘Senap’ on the Angelino Dulcert world map of 1339. Years after publication of Ariosto’s poem, Tasso in the Gerusalemme Liberata (Jerusalem Delivered) reintroduced Senapo, and Alexander Cunningham Robertson thus presented him to English readers:
  
  Senapo once filled Ethiopia’s throne,
  And still, perhaps, endures his prosperous reign:
  This potentate the laws of Mary’s Son
  Observes, and these observe the swarthy men
  He rules…

   

  E-text at Sacred Texts.

   

   

   

• 1 media/e-codices_bbb-Mss-hh-I0016_027_medium.jpg 2023-12-02T13:55:22-08:00 Paradise Lost 4 plain 2024-01-03T19:36:53-08:00 John Milton alludes to Prester John indirectly on two occasions in his Paradise Lost (1667). 
  
  In Book IV, the realm of Ethiopia is framed as near the terrestrial paradise and the headwaters of the Nile:

  Nor, where Abassin kings their issue guard,
  Mount Amara (though this by some suppos'd
  True Paradise) under the Ethiop line
  By Nilus' head, enclos'd with shining rock,
  A whole day's journey high, but wide remote
  From this Assyrian garden where the
  Fiend Saw undelighted all delight, all kind
  Of living creatures, new to sight and strange.

  In Book XI, Milton's Adam describes the dissemination of his descendents across the world:

  Nor did his eyes not ken
  Th'empire of Negus, to his utmost port,
  Ercoco, and the less maritime kings,
  Mombaza and Quiloa and Melind

  This mention of the Ethiopian negus betrays a larger debt Milton paid to Ariosto's Orlando Furioso, argues James H. Sims.