Felice Romani wrote the Italian libretto after Byron's 1816 poem Parisina.

The characters of Parisina and Duke Azzo in both Byron's poem and Donizetti's opera are very loosely based on the historical figures of Parisina Malatesta (the daughter of Andrea Malatesta) and Niccolò III d'Este.

A performance at the Teatro Argentina in Rome is the setting for a key scene in chapter 34 of the 1844 novel The Count of Monte Cristo by Alexandre Dumas.

Place: Ferrara Time: the 15th century[1] In Duke Azzo's palace, Ernesto and other nobles await his arrival (È desto il duca?).

Ernesto is overcome by fear when he sees his foster son, knowing that his exile had not ended and Azzo was still angry at him.

In Parisina's room, Imelda and the other handmaids are talking about the banquet (Lieta era dessa).

In a dream, Parisina, believing that Ugo is in the room calls out to him and tells him they must flee together.

In another room in the palace and waiting for the banquet to begin, Ugo is troubled that Parisina has not yet appeared.

Soldiers enter and order Ugo to follow them to the Duke who asks him if Parisina's confession is true.