His mother Lucia was the sister of the humanist poet Tito Vespasiano Strozzi, his father Giovanni the son of Feltrino Boiardo, whom Niccolò III d'Este, Marquis of Ferrara, had made Count of Scandiano, with seignorial power over Arceto, Casalgrande, Gesso, and Torricella.
In 1487 Ercole appointed Boiardo ducal emissary for Reggio, an office which he was to hold until his death, and which has left us the largest nucleus of his Lettere, mostly of an administrative nature.
For Ercole d'Este he produced his first humanist works in Latin, the Carmina de laudibus Estensium and the Pastoralia, both dating from 1463–4; he also undertook a number of free translations into the vernacular, from Cornelius Nepos, Xenophon, Apuleius, Herodotus, and the chronicler Riccobaldo of Ferrara.
While in Reggio in 1469 Boiardo met Antonia Caprara, who inspired his canzoniere, his first original work in the vernacular, now regarded as one of the highest poetic achievements of the 15th century.
Entitled Amorum libri tres and comprising 180 sonnets, canzoni, and madrigals, it recounts in Petrarchan mode the three phases of the poet's love, from initial joy to subsequent disillusionment and final mourning.
Fabulous and anachronistic as this narrative material may seem, the poet relates it to the present by creating the illusion of a live recitation to a courtly audience, whose reactions he registers at various points.
Within this frame the narration itself unfolds at a relentless pace, governed by the so-called entrelacement technique of suspending one story and shifting to another at the point of maximum expectation.
[5] It was composed of four unique suits, each representing a passion: Whips (Timor > fear), Eyes (Gelosia > jealousy), Vases (Speranza > hope) and Arrows (Amor > love).
But Pietro Bembo's reformation of the language in 1525, the rediscovery of Aristotle's Poetics in the 1530s, and the incipient Counter-Reformation in the 1540s all caused it to fall from favour amongst critics and writers, including Torquato Tasso, who found it lacking on linguistic, theoretical, and moral grounds.