Orlando Furioso (opening stanza, trans. by William Stewart Rose)
A massive chivalricepic poem in 46 cantos by Ludovico Ariosto, first published in 1516 and revised and expanded a couple times, with its final form appearing in 1532. Orlando Furioso ("Mad Orlando" or "The Fury of Orlando") continues and completes the story begun in the unfinished but equally epic poem, Orlando Innamorato ("Orlando In Love") by Matteo Maria Boiardo, Conte di Scandiano (1441-1494). Charlemagne (Carlo) is at war with the Saracens, and his paladin Orlando (Roland), the world's greatest knight (and hero of the French Chanson de Roland), goes mad from Unrequited Love for the pagan princess Angelica of Cathay. Has a Beta Couple, which also consists of a pagan and a Christian: Ruggiero (Roger) of Risa and Bradamante, the mythical ancestors of Boiardo's and Ariosto's employers, the Este family, ducal house of Ferrara.The poem is not so much a Chivalric Romance as a Deconstruction of same, casting an ironic eye on all the tropes and conventions of the genre, with Orlando's devotional love turning to madness being only the most obvious treatment. But Ariosto is more interested in entertaining than anything else, and succeeds at his task at great length. It was enormously influential in the centuries after it was written, influencing Tasso, Spencer, and Milton to name the most famous.
Abusive Parents: What to do if your daughter indirectly and passivley-aggressively expresses disagreement with your choice of husband for her? Kidnap her, obviously! (It should be noted that in some of the other texts featuring the characters, one of the parents involved, Aymon, tries to kill his sons and his wife. Bradamante got off lightly)
All Amazons Want Hercules: In the Lady Land visited by Astolpho and Marfisa, the only way a man can avoid slavery is to prove his worthiness by defeating ten champions in a day and then bed ten women that night. According to Guido's extensive explanation, this was set up precisely because of this trope, when the queen's daughter desired a particularly worthy fighter who was, in fact, descended from Hercules.
Anti-Magic: This is what Angelica's Ring does when worn on a finger (it doubles as a Ring of Gyges if you put it on your tongue).
Author Filibuster: Ariosto did not like cannons, recently introduced to European warfare.
Berserk Button: Interrupting a single combat Marfisa is involved is NOT a good idea. In the prequel she attacks her boss (and his army) for attacking the guy she was already fighting. In this one, she tries to kill her best friend for trying to intervene in her fight with Bradamante.
Best Her to Bed Her: Bradamante demands a husband who can hold his own against her in battle from dawn to dusk.
Though she's doing it more so she gets some choice over who she marries than any other reason. If she'd knowingly fought Ruggiero, she would almost certainly have let him win
Chained to a Rock: Happens twice in Orlando Furioso. First, Angelica of Cathay is captured by the pirates of Ebuda, only to be stripped naked and exposed on a rock to a sea monster. After she's rescued, the pirates replace her with Olympia of Holland. Neither woman can conceal their modesty when their rescuer approaches.
Defiled Forever: Discussed and deconstructed with both Angelica and Guinevere.
Defrosting Ice Queen: The description of Angelica finally falling in love is filled with imagery of melting.
Did Not Get the Girl: Pretty much everybody who fell in love with Angelica, including the titular Orlando. After being romantically pursued by the world's greatest knights, the princess ends up falling in love with and marrying Medoro, a wounded mere foot-soldier.
The Dulcinea Effect: Ruthlessly attacked with Angelica, especially her using the devoted Sacripante (picked because he was the knight she could most easily control) entirely for her own ends.
Easy Evangelism: Lots of Muslim and Pagan warriors, kings and cities convert to Christianity after getting defeated by one of the protagonists. It's not even forced either: they impute the enemy's victory to their superior religion and willingly abandon theirs.
Epiphanic Prison: Atlantes creates one of these to protect Ruggiero by trapping him and every knight capable of killing him in a labyrinth where they endlessly chase after phantom visions of Angelica. They escape when the real Angelica accidentally disspells it with her Anti-Magic ring. The results are not pretty.
Ice Queen: Angelica, but it's not her fault (she drank from a magic spring).
If I Can't Have You: When Bradamante thinks Ruggiero has left her, her plan swings between this and something along the lines of "I'll make him kill me and then he'll be sorry!" In the end, she can't bring herself to hurt him.
Knight Templar Parent: Atlas may be one of the few characters who isn't a knight, but he still fits this trope, going to insane lengths to keep Ruggiero locked up for his own good, and even coming back from the dead to protect his children...
Lady Land: Alessandretta, visited by Astolpho and Marfisa.
Love Makes You Evil: Most of Ruggiero's and Bradamante's plot is caused by Ruggiero's guardian Atlante constantly trying to trap his former protegé in a different Gilded Cage to protect him from the dangerous life of a knight.
So Beautiful, It's a Curse: With a side order of Cursed with Awesome in the prequel: Angelica, a pagan, comes to Charlemagne's court specifically to cause havoc with her beauty, and succeeds quite entertainingly — and all too well. By the time Ariosto takes up the story, she's lost her brother and been kidnapped for her beauty more times than you really want to think about — all she wants to do is get home and be done with it all.
Super Toughness: Orlando and Ferrau have invulnerable skin as hard as diamond, except in one location. Orlando in particular seems to wear armor only as a uniform, to make it clear to others that yes, he is a knight.
Unrequited Love Switcheroo: Angelica was in love with Rinaldo, who did not reciprocate. Then they both drank from magic springs that made Angelica hate him and Rinaldo fall madly in love with her. Oh, the beauty of irony!
What Happened to the Mouse?: Fiordespina. After her illicit romance with Richardet is discovered, he gets rescued from execution... and no-one mentions what happens to her. Even worse if you take The Song of Roland as canon, where her father Marsilius says he doesn't have any living children...
Your Cheating Heart: There's a particularly jarring case of Values Dissonance when Rinaldo takes a break from chasing Angelica to go home and hug his wife and children. Orlando is also married (or at least engaged)