Chapter 2

[Footnote 4: Article on the _Narrative and Romantic Poems of the Italians_, in the _Quarterly Review_, No. 62, p. 527.]

[Footnote 5:

"E' suoi capelli a sè sciolse di testa, Che n'avea molti la dama gioconda; Ed, abbracciato il cavalier con festa, Tutto il coperse de la treccia bionda: Così, nascosi entrambi di tal vesta, Uscir' di quella fonte e la bell' onda."

Her locks she loosened from her lovely head, For many and long had that same lady fair; And clasping him in mirth as round they spread, Covered the knight with the sweet shaken hair: And so, thus both together garmented, They issued from the fount to the fresh air.

Readers of the _Faerie Queene_ will here see where Spenser has been, among his other visits to the Bowers of Bliss.]

[Footnote 6: Foscolo, _ut sup_. p. 528.]

[Footnote 7: A late amiable man of wit, Mr. Stewart Rose, has given a prose abstract of Berni's _Orlando Innamorato_, with occasional versification; but it is hardly more than a dry outline, and was, indeed, intended only as an introduction to his version of the _Furioso_. A good idea, however, of one of the phases of Berni's humour may be obtained from the same gentleman's abridgment of the _Animali Parlanti_ of Casti, in which he has introduced a translation of the Tuscan's description of himself and of his way of life, out of his additions to Boiardo's poem. The verses in the prohibited edition of Berni's _Orlando_, in which he denounced the corruptions of the clergy, have been published, for the first time in this country, in the notes to the twentieth canto of Mr. Panizzi's Boiardo. They have all his peculiar wit, together with a _Lutheran_ earnestness; and shew him, as that critic observes, to have been "Protestant at his heart."

Since writing this note I have called to mind that a translation of Berni's account of himself is to be found in Mr. Rose's prose abstract of the _Innamorato._]

THE ADVENTURES OF ANGELICA.

Argument.

Angelica, daughter of Galafron, king of Cathay, the most beautiful of womankind, and a possessor of the art of magic, comes, with her brother Argalia, to the court of Charlemagne under false pretences, in order to carry away his knights to the country of her father. Her immediate purpose is defeated, and her brother slain; but all the knights, Orlando in particular, fall in love with her; and she herself, in consequence of drinking at an enchanted fountain, becomes in love with Rinaldo. On the other hand, Rinaldo, from drinking a neighbouring fountain of a reverse quality, finds his own love converted to loathing. Various adventures arise out of these circumstances; and the fountains are again drunk, with a mutual reversal of their effects.

THE ADVENTURES OF ANGELICA

It was the month of May and the feast of Pentecost, and Charlemagne had ordained a great jousting, which brought into Paris an infinite number of people, baptised and infidel; for there was truce proclaimed, in order that every knight might come. There was King Grandonio from Spain, with his serpent's face; and Ferragus, with his eyes like an eagle; and Balugante, the emperor's kinsman; and Orlando, and Rinaldo, and Duke Namo; and Astolfo of England, the handsomest of mankind; and the enchanter Malagigi; and Isoliero and Salamone; and the traitor Gan, with his scoundrel followers; and, in short, the whole flower of the chivalry of the age, the greatest in the world. The tables at which they feasted were on three sides of the hall, with the emperor's canopy midway at the top; and at that first table sat crowned heads; and down the table on the right sat dukes and marquises; and down the table on the left, counts and cavaliers. But the Saracen nobles, after their doggish fashion, looked neither for chair nor bench, but preferred a carpet on the floor, which was accordingly spread for them in the midst.

High sat Charlemagne at the head of his vassals and his Paladins, rejoicing in the thought of all the great men of which they consisted, and holding the infidels cheap as the sands which are scattered by the tempest. To each of his lords, as they drank, he sent round, by his pages, gifts of enamelled cups of exquisite workmanship; and to every body some mark of his princely distinction; and so they were all sitting and hearing music, and feasting off dishes of gold, and talking of lovely things with low voices,[1] when suddenly there came into the hall four enormous giants, in the midst of whom was a lady, and behind the lady there followed a cavalier. She was a very lily of the field, and a rose of the garden, and a morning-star; in short, so beautiful that the like had never been seen. There was Galerana in the hall; there was Alda, the wife of Orlando; and Clarice, and Armellina the kind-hearted, and abundance of other ladies, all beautiful till she made her appearance; but after that they seemed nothing. Every Christian knight turned his face that way; and not a Pagan remained on the floor, but arose and got as near to her as he could; while she, with a cheerful sweetness, and a smile fit to enamour a heart of stone, began speaking the following words:

"High-minded lord, the renown of your worthiness, and the valour of these your knights, which echoes from sea to sea, encourages me to hope, that two pilgrims who have come from the ends of the world to behold you, will not have encountered their fatigue in vain. And to the end that I may not hold your attention too long with speaking, let me briefly say, that this knight here, Uberto of the Lion, a prince renowned also for his achievements, has been wrongfully driven from out his dominions; and that I, who was driven out with him, am his sister, whose name is Angelica. Fame has told us of the jousting this day appointed, and of the noble press of knights here assembled, and how your generous natures care not to win prizes of gold or jewels, or gifts of cities, but only a wreath of roses; and so the prince my brother has come to prove his own valour, and to say, that if any or all of your guests, whether baptised or infidel, choose to meet him in the joust, he will encounter them one by one, in the green meadow without the walls, near the place called the Horseblock of Merlin, by the Fountain of the Pine. And his conditions are these,--that no knight who chances to be thrown shall have license to renew the combat in any way whatsoever, but remain a submissive prisoner in his hands; he, on the other hand, if himself be thrown, agreeing to take his departure out of the country with his giants, and to leave his sister, for prize, in the hands of the conqueror."

Kneeling at the close of these words, the lady awaited the answer of Charlemagne, and every body gazed on her with astonishment. Orlando especially, more than all the rest, felt irresistibly drawn towards her, so that his heart trembled, and he changed countenance. But he felt ashamed at the same time; and casting his eyes down, he said to himself, "Ah, mad and unworthy Orlando! whither is thy soul being hurried? I am drawn, and cannot say nay to what draws me. I reckoned the whole world as nothing, and now I am conquered by a girl. I cannot get her sweet look out of my heart. My soul seems to die within me, at the thought of being without her. It is love that has seized me, and I feel that nothing will set me free;--not strength, nor courage, nor my own wisdom, nor that of any adviser. I see the better part, and cleave to the worse."[2]

Thus secretly in his heart did the frank and noble Orlando lament over his new feelings; and no wonder; for every knight in the hall was enamoured of the beautiful stranger, not excepting even old white-headed Duke Namo. Charlemagne himself did not escape.

All stood for awhile in silence, lost in the delight of looking at her. The fiery youth Ferragus was the first to exhibit symptoms in his countenance of uncontrollable passion. He refrained with difficulty from going up to the giants, and tearing her out of their keeping. Rinaldo also turned as red as fire; while his cousin Malagigi the enchanter, who had discovered that the stranger was not speaking truth, muttered softly, as he looked at her, "Exquisite false creature! I will play thee such a trick for this, as will leave thee no cause to boast of thy visit."

Charlemagne, to detain her as long as possible before him, made a speech in answer, in which he talked and looked, and looked and talked, till there seemed no end of it. At length, however, the challenge was accepted in all its forms; and the lady quitted the hall with her brother and the giants.

She had not yet passed the gates, when Malagigi the enchanter consulted his books; and that no means might be wanting to complete the counteraction of what he suspected, he summoned to his aid three spirits out of the lower regions. But how serious his look turned, how his very soul within him was shaken, when he discovered that the most dreadful disasters hung over Charles and his court, and that the sister of the pretended Uberto was daughter of King Galafron of Cathay, a beauty accomplished in every species of enchantment, and sent there by her father on purpose to betray them all! Her brother's name was not Uberto, but Argalia. Galafron had given him a horse swifter than the wind, an enchanted sword, a golden lance, also enchanted, which overthrew all whom it touched,[3] and a ring of a virtue so extraordinary, that if put into the mouth, it rendered the person invisible, and if worn on the finger, nullified every enchantment. But beyond even all this, he gave him his sister for a companion; rightly judging, that every body that saw her would fall into the proposal of the joust; and trusting that, at the close of it, she would bring him the whole court of France into Cathay, prisoners in her hands.

Such, Malagigi discovered, was the plot of the accursed infidel hound, King Galafron.[4]

Meantime the pretended Uberto had returned to his station at the Horseblock of Merlin. He had had a beautiful pavilion pitched there; and under this pavilion he lay down awhile to refresh himself with sleep. His sister Angelica lay down also, but in the open air, under the great pine by the fountain. The four giants kept watch: and as she lay thus asleep, with her fair head on the grass, she appeared like an angel come down from heaven.

By this time Malagigi, borne by one of his demons, had arrived in the same place. He saw the beauty asleep by the flowery water, and the four giants all wide awake; and he said within his teeth,--" Brute scoundrels, I will take every one of you into my net without a blow."

Malagigi took his book, and cast a spell out of it; and in an instant the whole four giants were buried in sleep. Then, drawing his sword, he softly approached the young lady, intending to despatch her as quickly: but seeing her look so lovely as she slept, he paused, and considered within himself, and resolved to detain her in the same state by enchantment, so long as it should please him. Laying down the naked sword in the grass, he again took his book, and read and read on, and still read on, and fancied he was locking up her senses all the while in a sleep unwakeable. But the ring of which I have spoken was on her finger. She had borrowed it of her brother; and a superior power rendered all other magic of no avail. A touch from Malagigi to prove the force of his spell awoke her, to the magician's consternation, with a great cry. She fled into the arms of her brother, whom it aroused; and, by the help of his sister's knowledge of enchantment, Argalia mastered and bound the magician. The book was then turned against him, and the place was suddenly filled with a crowd of his own demons, every one of them crying out to Angelica, "What commandest thou?"

"Take this man," said Angelica, "and bear him prisoner to the great city between Tartary and India, where my father Galafron is lord. Present him to him in my name, and say it was I that took him; and add, that having so taken the master of the book, I care not for all the other lords of the court of Charlemagne."

At the end of these words, and at one and the same instant, the magician was conveyed to the feet of Galafron in Cathay, and locked up in a rock under the sea.

In due time the enamoured knights, according to agreement, came to the spot, for the purpose of jousting with the supposed Uberto, each anxious to have the first encounter, particularly Orlando, in order that he might not see the beauty carried off by another. But they were obliged to draw lots; and thirty other names appeared before his, the first of which was that of Astolfo the Englishman.

Now Astolfo was son of the king of England; and as I said before, he was the handsomest man in the world. He was also very rich and well bred, and loved to dress well, and was as brave as he was handsome; but his success was not always equal to his bravery. He had a trick of being thrown from his horse, a failing which he was accustomed to attribute to accident; and then he would mount again, and be again thrown from the saddle, in the boldest manner conceivable.

This gallant prince was habited, on the present occasion, in arms worth a whole treasury. His shield had a border of large pearls; his mail was of gold; on his helmet was a ruby as big as a chestnut; and his horse was covered with a cloth all over golden leopards.[5] He issued to the combat, looking at nobody and fearing nothing; and on his sounding the horn to battle, Argalia came forth to meet him. After courteous salutations, the two combatants rushed together; but the moment the Englishman was touched with the golden lance, his legs flew over his head.

"Cursed fortune!" cried he, as he lay on the grass; "this is out of all calculation. But it was entirely owing to the saddle. You can't but acknowledge, that if I had kept my seat, the beautiful lady would have been mine. But thus it is when Fortune chooses to befriend infidels!"[6]

The four giants, who had by this time been disenchanted out of their sleep by Angelica, took up the English prince, and put him in the pavilion. But when he was stripped of his armour, he looked so handsome, that the lovely stranger secretly took pity on him, and bade them shew him all the courtesies that captivity allowed. He was permitted to walk outside by the fountain; and Angelica, from a dark corner, looked at him with admiration, as he walked up and down in the moonlight.[7]

The violent Ferragus had the next chance in the encounter, and was thrown no less speedily than Astolfo; but he did not so easily put up with the mischance. Crying out, "What are the emperor's engagements to me?" he rushed with his sword against Argalia, who, being forced to defend himself unexpectedly, dismounted and set aside his lance, and got so much the worse of the fight, that he listened to proposals of marriage from Ferragus to his sister. The beauty, however, not feeling an inclination to match with so rough and savage-looking a person, was so dismayed at the offer, that, hastily bidding her brother meet her in the forest of Arden, she vanished from the sight of both, by means of the enchanted ring. Argalia, seeing this, took to his horse of swiftness, and dashed away in the same direction; Ferragus, in distraction, pursued Argalia; and Astolfo, thus left to himself, took possession of the golden lance, and again issued forth--not, indeed, with quite his usual confidence of the result, but determined to run all risks, in any thing that might ensue, for the sake of the emperor. In fine, to cut this part of the history short, Charlemagne, finding the lady and her brother gone, ordered the joust to be restored to its first intention; and Astolfo, who was as ignorant as the others of the treasure he possessed in the enchanted lance, unhorsed all comers against him like so many children, equally to their astonishment and his own.

The Paladin Rinaldo now learnt the issue of the fight between Ferragus and the stranger, and galloped in a loving agony of pursuit after the fair fugitive. Orlando learnt the disappearance of Rinaldo, and, distracted with jealousy, pushed forth in like manner; and at length all three are in the forest of Arden, hunting about for her who is invisible.

Now in this forest were two enchanted waters, the one a running stream, and the other a built fountain; the first caused every body who tasted it to fall in love, and the other (so to speak) to fall _out_ of love; say, rather, to feel the love turned into hate. To the latter of these two waters Rinaldo happened to come; and being flushed with heat and anxiety, he dismounted from his horse, and quenched, in one cold draught, both his thirst and his passion. So far from loving Angelica as before, or holding her beauty of any account, he became disgusted with its pursuit, nay, hated her from the bottom of his heart; and so, in this new state of mind, and with feelings of lofty contempt, he remounted and rode away, and happened to come on the bank of the running stream. There, enticed by the beauty of the place, which was all sweet meadow-ground and bowers of trees, he again quitted his saddle, and, throwing himself on the ground, fell fast asleep. Unfortunately for the proud beauty Angelica, or rather in just punishment for her contempt, her palfrey conducted her to this very place. The water tempted her to drink, and, dismounting and tying the animal to one of the trees, she did so, and then cast her eyes on the sleeping Rinaldo. Love instantly seized her, and she stood rooted to the spot.

The meadow round about was all full of lilies of the valley and wild roses. Angelica, not knowing what to do, at length plucked a quantity of these, and with her white hand she dropped them on the face of the sleeper. He woke up; and seeing who it was, not only received her salutations with a change of countenance, but remounting his horse, galloped away through the thickest part of the forest. In vain the beautiful creature followed and called after him; in vain asked him what she had done to be so despised, and entreated him, at any rate, to take care how he went so fast. Rinaldo disappeared, leaving her to wring her hands in despair; and she returned in tears to the spot on which she had found him sleeping. There, in her turn, she herself lay down, pressing the spot of earth on which he had lain; and so, weeping and lamenting, yet blessing every flower and bit of grass that he had touched, fell asleep out of fatigue and sorrow.

As Angelica thus lay, the good or bad fortune of Orlando conducted him to the same place. The attitude in which she was sleeping was so lovely that it is not even to be conceived, much less expressed. The very grass seemed to flower on all sides of her for joy; and the stream, as it murmured along, to go talking of love.[8] Orlando stood gazing like a man who had been transported to another sphere. "Am I on earth," thought he, "or am I in paradise? Surely it is I myself that am sleeping, and this is my dream."

But his dream was proved to be none, in a manner which he little desired. Ferragus, who had slain Argalia, came up raging with jealousy, and a combat ensued which awoke the sleeper. Terrified at what she beheld, she rushed to her palfrey; and while the fighters were occupied with one another, fled away through the forest.

Fast fled the beauty in the direction taken by Rinaldo; nor did she cease travelling, by one conveyance or another, till she reached her own country, whither she had sent Malagigi. Him she freed from his prison, on condition that he would employ his art for the purpose of bringing Rinaldo to a palace of hers, which she possessed in an island; and accordingly Rinaldo was inveigled by a spirit into an enchanted barque, which he found on a sea-shore, and which conveyed him, without any visible pilot, into Joyous Palace (for so the island was called).

The whole island was a garden, fifteen miles in extent. It was full of trees and lawns; and on the western side, close to the sea, was the palace, built of a marble so clear and polished, that it reflected the landscape round about. Rinaldo, not knowing what to think of his strange conveyance, lost no time in leaping to shore; upon which a lady made her appearance, who invited him within. The house was a most beautiful house, full of rooms adorned with azure and gold, and with noble paintings; and within as well as without it were the loveliest flowers, the purest fountains, and a fragrance fit to turn sorrow to joy. The lady led the knight into an apartment painted with stories, and opening to the garden through pillars of crystal with golden capitals. Here he found a bevy of ladies, three of whom were singing in concert, while another played on some foreign instrument of exquisite accord, and the rest were dancing round about them. When the ladies beheld him coming, they turned the dance into a circuit round about himself; and then one of them, in the sweetest manner, said, "Sir knight, the tables are set, and the hour for the banquet is come:" and with these words they all drew him, still dancing, across the lawn in front of the apartment, to a table that was spread with cloth of gold and fine linen, under a bower of damask roses, by the side of a fountain.[9]

Four ladies were already seated there, who rose and placed Rinaldo at their head, in a chair set with pearls. And truly indeed was he astonished. A repast ensued, consisting of viands the most delicate, and wines as fragrant as they were fine, drunk out of jewelled cups; and when it drew towards its conclusion, harps and lutes were heard in the distance, and one of the ladies said in the knight's ear, "This house, and all that you see in it, are yours. For you alone was it built, and the builder is a queen; and happy indeed must you think yourself, for she loves you, and she is the greatest beauty in the world. Her name is Angelica."

The moment Rinaldo heard the name he so detested, disgust and wretchedness fell upon his heart, notwithstanding the joys around him. He started up with a changed countenance, and, in spite of all that the lady could say, broke off across the garden, and never ceased hastening till he reached the place where he landed. He would have thrown himself into the sea, rather than stay any longer in that island; but the enchanted barque was still on the shore. He sprang into it, and attempted instantly to push off, for he still saw nobody in it but himself; but the barque for a while resisted his efforts; till, on his feeling a wish to drown himself, or to do any thing rather than return to that detested house, it suddenly loosed itself from its moorings, and dashed away with him over the sea, as if in a fury.

All night did the pilotless barque dash on, till it reached, in the morning, a distant shore covered with a gloomy forest. Here Rinaldo, surrounded by enchantments of a very different sort from those which he had lately resisted, was entrapped into a pit. The pit belonged to a castle which was hung with human heads, and painted red with blood; and as the Paladin was calling upon God to help him, a hideous white-headed old woman, of a spiteful countenance, made her appearance on the edge of the pit, and told him that he must fight with a monster born of Death and Desire.

"Be it so," said the Paladin. "Let me but remain armed as I am, and I fear nothing." For Rinaldo had with him his renowned sword Fusberta.[10]

The old woman laughed in derision. Rinaldo remained in the den all night, and next day was taken to a place where a portcullis was lifted up, and the monster rushed forth. He was a mixture of hog and serpent, larger than an ox, and not to be looked at without horror. He had eyes like a traitor, the hands of a man, but clawed, a beard dabbled with blood, a skin of coarse variegated colours, too hard to be cut through, and two horns on his temples, which he could turn on all sides of him at his pleasure, and which were so sharp that they cut like a sword.

Rising on his hind-legs, and opening a mouth six palms in width, this horrible beast fell heavily on Rinaldo, who was nevertheless quick enough to give it a blow on the snout which increased its fury. Returning the knight a tremendous cuff, it seized his coat of mail between breast and shoulder, and tore away a great strip of it down to the girdle, leaving the skin bare. Every successive rent and blow was of the like irresistible violence; and though the Paladin himself never fought with more force and fury, he lost blood every instant. The monster at length tearing his sword out of his hand, the Paladin surely began to think that his last hour was arrived.

Looking about to see what might possibly help him, he observed overhead a beam sticking out of a wall at the height of some ten feet. He took a leap more than human; and reaching the beam with his hand, succeeded in flinging himself up across it. Here he sat for hours, the furious brute continually trying to reach him. Night-time then came on with a clear starry sky and moonlight, and the Paladin could discern no way of escaping, when he heard a sound of something, he knew not what, coming through the air like a bird. Suddenly a female figure stood on the end of the beam, holding something in her hand towards him, and speaking in a loving voice.

It was Angelica, come with means for destroying the monster, and carrying the knight away.

But the moment Rinaldo saw her, desperate as seemed to be his condition, he renounced all offers of her assistance; and at length became so exasperated with her good offices, especially when she opened her arms and offered to bear him away in them, that he threatened to cast himself down to the monster if she did not go away.[11]

Angelica, saying that she would lose her life rather than displease him, descended from the beam; and having given the monster a cake of wax which fastened up his teeth, and then caught and fixed him in a set of nooses she had brought for that purpose, took her miserable departure. Rinaldo upon this got down from the beam himself; and having succeeded, though with the greatest difficulty, in beating and squeezing the life out of the monster, dealt such havoc among the people of the castle who assailed him, that the horrible old woman, whose crimes had made her the creature's housekeeper, and led her to take delight in its cruelty, threw herself headlong from a tower. The Paladin then took his way forth, turning his back on the castle and the sea-shore.

Angelica returned to the capital of her father's dominion, Albracca; and the pertinacity of others in seeking her love being as great as that of hers for Rinaldo, she found King Galafron, in a short time, besieged there for her sake, by the fierce Agrican, king of Tartary.

In a short time a jealous feud sprang up between the loving friends Rinaldo and Orlando; and Angelica, torn with conflicting emotions, from her dread on her father's account as well as her own, and her aversion to every knight but her detester, was at one time compelled to apply to Orlando for assistance, and at another, being afraid that he would have the better of Rinaldo in combat, to send him away on a perilous adventure elsewhere, with a promise of accepting his love should he succeed.[12] Orlando went, but not before he had slain Agrican and delivered Albracca. Circumstances, however, again took him with her to a distance, as the reader will see, ere he could bring her to perform her promise; and the Paladins in general having again been scattered abroad, it happened that Rinaldo a second time found himself in the forest of Arden; and here, without expecting it, he became an altered man; for he now tasted a very different stream from that which had given him his hate for Angelica; namely, the one which had made her fall in love with himself. He was led to do this by a very extraordinary adventure.

In the thick of the forest he had come upon a mead full of flowers, in which there was a naked youth, singing in the midst of three damsels, who were naked also, and who were dancing round about him. They had bunches of flowers in their hands, and garlands on their heads; and as they were thus delighting themselves, with faces full of love and joy, they suddenly changed countenance on seeing Rinaldo. "Behold," cried they, "the traitor! Behold him, villain that he is, and the scorner of all delights! He has fallen into the net at last." With these words they fell upon him with the flowers like so many furies; and tender as such scourges might be thought, every blow which the roses and violets gave him, every fresh stroke of the lilies and the hyacinths, smote him to the very heart, and filled his veins with fire. The flowers in the bands of the nymphs being exhausted, the youth gave him a blow on the helmet with a tall garden-lily, which felled him to the earth; and so, taking him by the legs, and dragging him over the grass, his conqueror went the whole circuit of the mead with him, the nymphs taking the very garlands off their heads, and again scourging him with their white and red roses.[13]

At the close of this discipline, which left him more exhausted than twenty battles, his enemies suddenly developed wings from their shoulders, the feathers of which were of white and gold and vermilion, every feather having an eye in it, not like those in the peacock's feathers, but one full of life and motion, being a female eye, lovely and gracious. And with these wings they poised themselves a little, and so sprung up to heaven.[14]

The Paladin, more dead than alive, lay helpless among the flowers, when a fourth nymph came up to him, of inexpressible beauty. She told him that he had grievously offended the naked youth, who was no other than Love himself; and added, that his only remedy was to be penitent, and to drink of the waters of a stream hard by, which he would find running from the roots of an olive-tree and a pine. With these words, she vanished in her turn like the rest; and Rinaldo, dragging himself as well as he could to the olive and pine, stooped down, and greedily drank of the water. Again and again he drank, and wished still to be drinking, for it took not only all pain out of his limbs, but all hate and bitterness out of his soul, and produced such a remorseful and doating memory of Angelica, that he would fain have galloped that instant to Cathay, and prostrated himself at her feet. By degrees he knew the place; and looking round about him, and preparing to remount his horse, he discerned a knight and a lady in the distance. The knight was in a coat of armour unknown to him, and the lady kneeling and drinking at a fountain, which was the one that had formerly quenched his own thirst; to wit, the Fountain of Disdain.

Alas! it was Angelica herself; and the knight was Orlando. She had allowed him to bring her into France, ostensibly for the purpose of wedding him at the court of Charlemagne, whither the hero's assistance had been called against Agramant king of the Moors, but secretly with the object of discovering Rinaldo. Rinaldo, behold! is discovered; but the fatal averse water has been drunk, and Angelica now hates him in turn, as cordially as he detested her. In vain he accosted her in the humblest and most repentant manner, calling himself the unworthiest of mankind, and entreating to be allowed to love her. Orlando, disclosing himself, fiercely interrupted him; and a combat so terrific ensued, that Angelica fled away on her palfrey till she came to a large plain, in which she beheld an army encamped.

The army was Charlemagne's, who had come to meet Rodamonte, one of the vassals of Agramant. Angelica, in a tremble, related how she had left the two Paladins fighting in the wood; and Charlemagne, who was delighted to find Orlando so near him, proceeded thither with his lords, and parting the combatants by his royal authority, suppressed the dispute between them for the present, by consigning the object of their contention to the care of Namo duke of Bavaria, with the understanding that she was to be the prize of the warrior who should best deserve her in the approaching battle with the infidels.

[This is the last we hear of Angelica in the unfinished poem of Boiardo. For the close of her history see its continuation by Ariosto in the present volume.]

[Footnote 1: "Con parlar basso e bei ragionamenti."]

[Footnote 2: _Video meliora, proboque, &c._ Writers were now beginning to pride themselves on their classical reading. The present occasion, it must be owned, was a very good one for introducing the passage from Horace. The previous words have an affecting ingenuousness; and, indeed, the whole stanza is beautiful:

"Io non mi posso dal cor dipartire La dolce vista del viso sereno, Perch'io mi sento senza lei morire, E 'l spirto a poco a poco venir meno. Or non mi vale forza, nè l'ardire Contra d' amor, the m' ha già posto il freno; Nè mi giova saper, ne altrui consiglio: Il meglio veggio, ed al peggior m'appiglio."

Alas! I cannot, though I shut mine eyes, Lose the sweet look of that delightful face; The very soul within me droops and dies, To think that I may fail to gain her grace. No strong limbs now, no valour, will suffice To burst the spell that roots me to the place: No, nor reflection, nor advice, nor force; I see the better part, and clasp the worse.]

[Footnote 3: [Greek: Argureais logchaisi machou, kai panta krataeseis.]

"Make war with silver spears, and you'll beat all."

The reader will note the allegory or not, as he pleases. It is a very good allegory; but allegory, by the due process of enchantment, becomes matter of fact; and it is pleasant to take it as such.]

[Footnote 4: "Rè Galagron, il maledetto cane"]

[Footnote 5: The lions in the shield of England were leopards in the "olden time," and it is understood, I believe, ought still to be so,--as Napoleon, with an invidious pedantry, once permitted himself to be angry enough to inform us.]

[Footnote 6: The character of Astolfo, the germ of which is in our own ancient British romances, appears to have been completed by the lively invention of Boiardo, and is a curious epitome of almost all which has been discerned in the travelled Englishmen by the envy of poorer and the wit of livelier foreigners. He has the handsomeness and ostentation of a Buckingham, the wealth of a Beckford, the generosity of a Carlisle, the invincible pretensions of a Crichton, the self-commitals and bravery of a Digby, the lucklessness of a Stuart, and the _nonchalance_ "under difficulties" of "_Milord What-then_" in Voltaire's _Princess of Babylon_, where the noble traveller is discovered philosophically reading the news-paper in his carriage after it was overturned. English beauty, ever since the days of Pope Gregory, with his pun about Angles and Angels, has been greatly admired in the south of Europe--not a little, perhaps, on account of the general fairness of its complexion. I once heard a fair-faced English gentleman, who would have been thought rather effeminate looking at home, called an "Angel" by a lady in Genoa.]

[Footnote 7:

"Stava disciolto, senza guardia alcuna, Ed intorno a la fonte sollazzava; Angelica nel lume de la luna, Quanto potea nascosa, lo mirava."

There is something wonderfully soft and _lunar_ in the liquid monotony of the third line.]

[Footnote 8:

"La qual dormiva in atto tanto adorno, Che pensar non si può, non ch'io lo scriva Parea che l'erba a lei fiorisse intorno, E d'amor ragionasse quella riva."

Her posture, as she lay, was exquisite Above all words--nay, thought itself above: The grass seemed flowering round her in delight, And the soft river murmuring of love.]

[Footnote 9: Supremely elegant all this appears to me.]

[Footnote 10: Sometimes called in the romances _Frusberta_ (query, from _fourbir_, to burnish; or, _froisser_, to crush?). The meaning does not seem to be known. I ought to have observed, in the notes to Pulci, that the name of Orlando's sword, _Durlindana_ (called also _Durindana, Durandal_, &c.), is understood to mean _Hardhitter_.]

[Footnote 11: The force of aversion was surely never better imagined than in this scene of the opened arms of beauty, and the knight's preference of the most odious death.]

[Footnote 12: Legalised, I presume, by a divorce from the hero's wife, the fair Alda; who, though she is generally designated by that epithet, seems never to have had much of his attention.]

[Footnote 13: This violent effect of weapons so extremely gentle is beautifully conceived.]

[Footnote 14: The "female eye, lovely and gracious," is charmingly painted _per se_, but of this otherwise thoroughly beautiful description I must venture to doubt, whether _living_ eyes of any sort, instead of those in the peacock's feathers, are in good taste. The imagination revolts from life misplaced.]

THE

DEATH OF AGRICAN

Argument.

Agrican king of Tartary, in love with Angelica, and baffled by the prowess of the unknown Orlando in his attempts to bring the siege of Albracca to a favourable conclusion, entices him apart from the battle into a wood, in the hope of killing him in single combat. The combat is suspended by the arrival of night-time; and a conversation ensues between the warriors, which is furiously interrupted by Agrican's discovery of his rival, and the latter's refusal to renounce his love. Agrican is slain; and in his dying moments requests baptism at the hand of his conqueror, who, with great tenderness, bestows it.

THE

DEATH OF AGRICAN.

The siege of Albracca was going on formidably under the command of Agrican, and the city of Galafron was threatened with the loss of the monarch's daughter, Angelica, when Orlando, at his earnest prayer, came to assist him, and changing at once the whole course of the war, threw the enemy in his turn into transports of anxiety. Wherever the great Paladin came, pennon and standard fell before him. Men were cut up and cloven down, at every stroke of his sword; and whereas the Indians had been in full rout but a moment before, and the Tartars ever on their flanks, Galafron himself being the swiftest among the spurrers away, it was now the Tartars that fled for their lives; for Orlando was there, and a band of fresh knights were about him, and Agrican in vain attempted to rally his troops. The Paladin kept him constantly in his front, forcing him to attend to nobody else. The Tartar king, who cared not a button for Galafron and all his army,[1] provided he could but rid himself of this terrible knight (whom he guessed at, but did not know), bethought him of a stratagem. He turned his horse, and made a show of flying in despair. Orlando dashed after him, as he desired; and Agrican fled till he reached a green place in a wood, with a fountain in it.

The place was beautiful, and the Tartar dismounted to refresh himself at the fountain, but without taking off his helmet, or laying aside any of his armour. Orlando was quickly at his back, crying out, "So bold, and yet such a fugitive! How could you fly from a single arm, and yet think to escape? When a man can die with honour, he should be glad to die; for he may live and fare worse. He may get death and infamy together."

The Tartar king had leaped on his saddle the moment he saw his enemy; and when the Paladin had done speaking, he said in a mild voice, "Without doubt you are the best knight I ever encountered; and fain would I leave you untouched for your own sake, if you would cease to hinder me from rallying my people. I pretended to fly, in order to bring you out of the field. If you insist upon fighting, I must needs fight and slay you; but I call the sun in the heavens to witness, that I would rather not. I should be very sorry for your death."

The County Orlando felt pity for so much gallantry; and he said," The nobler you shew yourself, the more it grieves me to think, that in dying without a knowledge of the true faith, you will be lost in the other world. Let me advise you to save body and soul at once. Receive baptism, and go your way in peace."

Agrican looked him in the face, and replied, "I suspect you to be the Paladin Orlando. If you are, I would not lose this opportunity of fighting with you, to be king of Paradise. Talk to me no more about your things of the other world; for you will preach in vain. Each of us for himself, and let the sword be umpire."

No sooner said than done. The Tartar drew his sword, boldly advancing upon Orlando; and a cut and thrust fight began, so long and so terrible, each warrior being a miracle of prowess, that the story says it lasted from noon till night. Orlando then, seeing the stars come out, was the first to propose a respite. "What are we to do," said he, "now that daylight has left us?"

Agrican answered readily enough, "Let us repose in this meadow, and renew the combat at dawn."

The repose was taken accordingly. Each tied up his horse, and reclined himself on the grass, not far from one another, just as if they had been friends,--Orlando by the fountain, Agrican beneath a pine. It was a beautiful clear night; and as they talked together, before addressing themselves to sleep, the champion of Christendom, looking up at the firmament, said, "That is a fine piece of workmanship, that starry spectacle. God made it all,--that moon of silver, and those stars of gold, and the light of day and the sun,--all for the sake of human kind."

"You wish, I see, to talk of matters of faith," said the Tartar. "Now I may as well tell you at once, that I have no sort of skill in such matters, nor learning of any kind. I never could learn anything when I was a boy. I hated it so, that I broke the man's head who was commissioned to teach me; and it produced such an effect on others, that nobody ever afterwards dared so much as shew me a book. My boyhood was therefore passed as it should be, in horsemanship, and hunting, and learning to fight. What is the good of a gentleman's poring all day over a book? Prowess to the knight, and prattle to the clergyman. That is my motto."

"I acknowledge," returned Orlando, "that arms are the first consideration of a gentleman; but not at all that he does himself dishonour by knowledge. On the contrary, knowledge is as great an embellishment of the rest of his attainments, as the flowers are to the meadow before us; and as to the knowledge of his Maker, the man that is without it is no better than a stock or a stone, or a brute beast. Neither, without study, can he reach anything like a due sense of the depth and divineness of the contemplation."

"Learned or not learned," said Agrican, "you might skew yourself better bred than by endeavouring to make me talk on a subject on which you have me at a disadvantage. I have frankly told you what sort of person I am; and I dare say, that you for your part are very learned and wise. You will therefore permit me, if you say anything more of such things, to make you no answer. If you choose to sleep, I wish you good night; but if you prefer talking, I recommend you to talk of fighting, or of fair ladies. And, by the way, pray tell me-are you, or are you not, may I ask, that Orlando who makes such a noise in the world? And what is it, pray, brings you into these parts? Were you ever in love? I suppose you must have been; for to be a knight, and never to have been in love, would be like being a man with no heart in his breast."

The County replied, "Orlando I am, and in love I am.[2] Love has made me abandon every thing, and brought me into these distant regions; and to tell you all in one word, my heart is in the hands of the daughter of King Galafron. You have come against him with fire and sword, to get possession of his castles and his dominions; and I have come to help him, for no object in the world but to please his daughter, and win her beautiful hand. I care for nothing else in existence."

Now when the Tartar king Agrican heard his antagonist speak in this manner, and knew him to be indeed Orlando, and to be in love with Angelica, his face changed colour for grief and jealousy, though it could not be seen for the darkness. His heart began beating with such violence, that he felt as if he should have died. "Well," said he to Orlando, "we are to fight when it is daylight, and one or the other is to be left here, dead on the ground. I have a proposal to make to you; nay, an entreaty. My love is so excessive for the same lady, that I beg you to leave her to me. I will owe you my thanks, and give up the fight myself. I cannot bear that any one else should love her, and I live to see it. Why, therefore, should either of us perish? Give her up. Not a soul shall know it."[3]

"I never yet," answered Orlando, "made a promise which I did not keep; and, nevertheless, I own to you, that were I to make a promise like that, and even swear to keep it, I should not. You might as well ask me to tear away the limbs from my body, and the eyes out of my head. I could as soon live without breath itself, as cease loving Angelica."

Agrican bad scarcely patience enough to let the speaker finish, ere he leaped furiously on horseback, though it was midnight. "Quit her," said he, "or die!"

Orlando, seeing the infidel getting up, and not being sure that he would not add treachery to fierceness, had been hardly less quick in mounting for the combat. "Never!" exclaimed he. "I never could have quitted her if I would; and now I wouldn't if I could. You must seek her by other means than these."

Fiercely dashed their horses together, in the night-time, on the green mead. Despiteful and terrible were the blows they gave and took by the moonlight. There was no need of their looking out for one another, night-time though it was. Their business was to take as sharp heed of every movement, as if it had been noon-day.[4]

Agrican fought in a rage: Orlando was cooler. And now the struggle had lasted more than five hours, and dawn began to be visible, when the Tartar king, furious to find so much trouble given him, dealt his enemy a blow sharp and violent beyond conception. It cut the shield in two, as if it had been a cheesecake; and though blood could not be drawn from Orlando, because he was fated, it shook and bruised him, as if it had started every joint in his body.

His body only, however; not a particle of his soul. So dreadful was the blow which the Paladin gave in return, that not only shield, but every bit of mail on the body of Agrican, was broken in pieces, and three of his left ribs cut asunder.

The Tartar, roaring like a lion, raised his sword with still greater vehemence than before, and dealt a blow on the Paladin's helmet, such as he had never yet received from mortal man. For a moment it took away his senses. His sight failed; his ears tinkled; his frightened horse turned about to fly; and he was falling from the saddle, when the very action of falling jerked his head upwards, and with the jerk he regained his recollection.

"O my God!" thought he, "what a shame is this! how shall I ever again dare to face Angelica! I have been fighting, hour after hour, with this man, and he is but one, and I call myself Orlando. If the combat last any longer, I will bury myself in a monastery, and never look on sword again."

Orlando muttered with his lips closed and his teeth ground together; and you might have thought that fire instead of breath came out of his nose and mouth. He raised his sword Durindana with both his hands, and sent it down so tremendously on Agrican's left shoulder, that it cut through breast-plate and belly-piece down to the very haunch; nay, crushed the saddle-bow, though it was made of bone and iron, and felled man and horse to the earth. From shoulder to hip was Agrican cut through his weary soul, and he turned as white as ashes, and felt death upon him. He called Orlando to come close to him with a gentle voice, and said, as well as he could, "I believe in Him who died on the Cross. Baptise me, I pray thee, with the fountain, before my senses are gone. I have lived an evil life, but need not be rebellious to God in death also. May He who came to save all the rest of the world, save me! He is a God of great mercy."

And he shed tears, did that king, though he had been so lofty and fierce.

Orlando dismounted quickly, with his own face in tears. He gathered the king tenderly in his arms, and took and laid him by the fountain, on a marble cirque which it had; and then he wept in concert with him heartily, and asked his pardon, and so baptised him in the water of the fountain, and knelt and prayed to God for him with joined hands.

He then paused and looked at him; and when he perceived his countenance changed, and that his whole person was cold, he left him there on the marble cirque by the fountain, all armed as he was, with the sword by his side, and the crown upon his head.

* * * * *

I think I may anticipate the warm admiration of the reader for the whole of this beautiful episode, particularly its close. "I think," says Panizzi, "that Tasso had this passage particularly in view when he wrote the duel of Clorinda and Tancredi, and her conversion and baptism before dying. The whole passage, from stanza xii. (where Agrican receives his mortal blow) to this, is beautiful; and the delicate proceeding of Orlando in leaving Agrican's body armed, even with the sword in his hand, is in the noblest spirit of chivalry."--Edition of _Boiardo and Ariosto_, vol. iii. page 357.

The reader will find the original in the Appendix No. I.

In the course of the poem (canto xix. stanza xxvi.) a knight, with the same noble delicacy, who is in distress for a set of arms, borrows those belonging to the dead body, with many excuses, and a kiss on its face.

[Footnote 1:

"Che tutti insieme, e 'l suo Rè Galafrone, Non li stimava quanto un vil bottone."]

[Footnote 2: Berni has here introduced the touching words, "Would I were not so!" (Così non foss'io!)]

[Footnote 3: This proposal is in the highest ingenuous spirit of the absurd wilfulness of passion, thinking that every thing is to give way before it, not excepting the same identical wishes in other people.]

[Footnote 4: Very fine all this, I think.]

THE SARACEN FRIENDS.

A FAIRY LOVE-TALE

Argument.

Prasildo, a nobleman of Babylon, to his great anguish, falls in love with his friend's wife, Tisbina; and being overheard by her and her husband threatening to kill himself, the lady, hoping to divert him from his passion by time and absence, promises to return it on condition of his performing a distant and perilous adventure. He performs the adventure; and the husband and wife, supposing that there is no other way of her escaping the consequences, resolve to take poison; after which the lady goes to Prasildo's house, and informs him of their having done so. Prasildo resolves to die with them; but hearing, in the mean time, that the apothecary had given them a drink that was harmless, he goes and tells them of their good fortune; upon which the husband is so struck with his generosity, that he voluntarily quits Babylon for life and the lady marries the lover. The new husband subsequently hears that his friend's life is in danger, and quits the wife to go and deliver him from it at the risk of his own, which he does.

This story, which has resemblances to it in Boccaccio and Chaucer, is told to Rinaldo while riding through a wood in Asia, with a damsel behind him on the same horse. He has engaged to combat in her behalf with a band of knights; and the lady relates it to beguile the way.

The reader is to bear in mind, that the age of chivalry took delight in mooting points of love and friendship, such as in after-times would have been out of the question; and that the parties in this story are Mahometans, with whom divorce was an easy thing, and caused no scandal.

THE SARACEN FRIENDS.

Iroldo, a knight of Babylon, had to wife a lady of the name of Tisbina, whom he loved with a passion equal to that of Tristan for Iseult;[1] and she returned his love with such fondness, that her thoughts were occupied with him from morning till night. Among other pleasant circumstances of their position, they had a neighbour who was accounted the greatest nobleman in the city; and he deserved his credit, for he spent his great riches in doing nothing but honour to his rank. He was pleasant in company, formidable in battle, full of grace in love; an open-hearted, accomplished gentleman.

This personage, whose name was Prasildo, happened to be of a party one day with Tisbina, who were amusing themselves in a garden, with a game in which the players knelt down with their faces bent on one another's laps, and guessed who it was that struck them. The turn came to himself, and he knelt down to the lap of Tisbina; but no sooner was he there, than he experienced feelings he had never dreamt of; and instead of trying to guess correctly, took all the pains he could to remain in the same position.

These feelings pursued him all the rest of the day, and still more closely at night. He did nothing but think and sigh, and find the soft feathers harder than any stone. Nor did he get better as time advanced. His once favourite pastime of hunting now ceased to afford him any delight. Nothing pleased him but to be giving dinners and balls, to make verses and sing them to his lute, and to joust and tournay in the eyes of his love, dressed in the most sumptuous apparel. But above all, gentle and graceful as he had been before, he now became still more gentle and graceful--for good qualities are always increased when a man is in love. Never in my life did I know them turn to ill in that case. So, in Prasildo's, you may guess what a super-excellent person he became.

The passion which had thus taken possession of this gentleman was not lost upon the lady for want of her knowing it. A mutual acquaintance was always talking to her on the subject, but to no purpose; she never relaxed her pride and dignity for a moment. The lover at last fell ill; he fairly wasted away; and was so unhappy, that he gave up all his feastings and entertainments. The only pleasure he took was in a solitary wood, in which he used to plunge himself in order to give way to his grief and lamentations.

It happened one day, early in the morning, while he was thus occupied, that Iroldo came into the wood to amuse himself with bird-catching. He had Tisbina with him; and as they were coming along, they overheard their neighbour during one of his paroxysms, and stopped to listen to what he said.

"Hear me," exclaimed he, "ye flowers and ye woods. Hear to what a pass of wretchedness I am come, since that cruel one will hear me not. Hear, O sun that hast taken away the night from the heavens, and you, ye stars, and thou the departing moon, hear the voice of my grief for the last time, for exist I can no longer; my death is the only way left me to gratify that proud beauty, to whom it has pleased Heaven to give a cruel heart with a merciful countenance. Fain would I have died in her presence. It would have comforted me to see her pleased even with that proof of my love. But I pray, nevertheless, that she may never know it; since, cruel as she is, she might blame herself for having shewn a scorn so extreme; and I love her so, I would not have her pained for all her cruelty. Surely I shall love her even in my grave."

With these words, turning pale with his own mortal resolution, Prasildo drew his sword, and pronouncing the name of Tisbina more than once with a loving voice, as though its very sound would be sufficient to waft him to Paradise, was about to plunge the steel into his bosom, when the lady herself, by leave of her husband, whose manly visage was all in tears for pity, stood suddenly before him.

"Prasildo," said she, "if you love me, listen to me. You have often told me that you do so. Now prove it. I happen to be threatened with nothing less than the loss of life and honour. Nothing short of such a calamity could have induced me to beg of you the service I am going to request; since there is no greater shame in the world than to ask favours from those to whom we have refused them. But I now promise you, that if you do what I desire, your love shall be returned. I give you my word for it. I give you my honour. On the other side of the wilds of Barbary is a garden which has a wall of iron. It has four gates. Life itself keeps one; Death another; Poverty the third; the fairy of Riches the fourth. He who goes in at one gate must go out at the other opposite; and in the midst of the garden is a tree, tall as the reach of an arrow, which produces pearls for blossoms. It is called the Tree of Wealth, and has fruit of emeralds and boughs of gold. I must have a bough of that tree, or suffer the most painful consequences. Now, then, if you love me, I say, prove it. Prove it, and most assuredly I shall love you in turn, better than ever you loved myself."

What need of saying that Prasildo, with haste and joy, undertook to do all that she required? If she had asked the sun and stars, and the whole universe, he would have promised them. Quitting her in spite of his love, he set out on the journey without delay, only dressing himself before he left the city in the habit of a pilgrim.

Now you must know, that Iroldo and his lady had set Prasildo on that adventure, in the hope that the great distance which he would have to travel, and the change which it might assist time to produce, would deliver him from his passion. At all events, in case this good end was not effected before he arrived at the garden, they counted to a certainty on his getting rid of it when he did; because the fairy of that garden, which was called the Garden of Medusa, was of such a nature, that whosoever did but look on her countenance forgot the reason for his going thither; and whoever saluted, touched, and sat down to converse by her side, forgot all that had ever occurred in his lifetime.

Away, however, on his steed went our bold lover; all alone, or rather with Love for his companion; and so, riding hard till he came to the Red Sea, he took ship, and journeyed through Egypt, and came to the mountains of Barca, where he overtook an old grey-headed palmer.

Prasildo told the palmer the reason of his coming, and the palmer told him what the reader has heard about the garden; adding, that he must enter by the gate of Poverty, and take no arms or armour with him, excepting a looking-glass for a shield, in which the fairy might behold her beauty. The old man gave him other directions necessary for his passing out of the gate of Riches; and Prasildo, thanking him, went on, and in thirty days found himself entering the garden with the greatest ease, by the gate of Poverty.

The garden looked like a Paradise, it was so full of beautiful trees, and flowers, and fresh grass. Prasildo took care to hold the shield over his eyes, that he might avoid seeing the fairy Medusa; and in this manner, guarding his approach, he arrived at the Golden Tree. The fairy, who was reclining against the trunk of it, looked up, and saw herself in the glass. Wonderful was the effect on her. Instead of her own white-and-red blooming face, she beheld that of a dreadful serpent. The spectacle made her take to flight in terror; and the lover, finding his object so far gained, looked freely at the tree, and climbed it, and bore away a bough[2].

With this he proceeded to the gate of Riches. It was all of loadstone, and opened with a great noise. But he passed through it happily, for he made the fairy who kept it a present of half the bough; and so he issued forth out of the garden, with indescribable joy.

Behold our loving adventurer now on his road home. Every step of the way appeared to him a thousand. He took the road of Nubia to shorten the journey; crossed the Arabian Gulf with a breeze in his favour; and travelling by night as well as by day, arrived one fine morning in Babylon.

No sooner was he there, than he sent to tell the object of his passion how fortunate he had been. He begged her to name her own place and time for receiving the bough at his hands, taking care to remind her of her promise; and he could not help adding, that he should die if she broke it.

Terrible was the grief of Tisbina at this unlooked-for news. She threw herself on her couch in despair, and bewailed the hour she was born. "What on earth am I to do?" cried the wretched lady; "death itself is no remedy for a case like this, since it is only another mode of breaking my word. To think that Prasildo should return from the garden of Medusa! who could have supposed it possible? And yet, in truth, what a fool I was to suppose any thing impossible to love! O my husband! little didst thou think what thou thyself advisedst me to promise!"

The husband was coming that moment towards the room; and overhearing his wife grieving in this distracted manner, he entered and clasped her in his arms. On learning the cause of her affliction, he felt as though he should have died with her on the spot.

"Alas!" cried he, "that it should be possible for me to be miserable while I am so dear to your heart. But you know, O my soul! that when love and jealousy come together, the torment is the greatest in the world. Myself--myself, alas! caused the mischief, and myself alone ought to suffer for it. You must keep your promise. You must abide by the word you have given, especially to one who has undergone so much to perform what you asked him. Sweet face, you must. But oh! see him not till after I am dead. Let Fortune do with me what she pleases, so that I be saved from a disgrace like that. It will be a comfort to me in death to think that I alone, while I was on earth, enjoyed the fond looking of that lovely face. Nay," concluded the wretched husband, "I feel as though I should die over again, if I could call to mind in my grave how you were taken from me."

Iroldo became dumb for anguish. It seemed to him as if his very heart had been taken out of his breast. Nor was Tisbina less miserable. She was as pale as death, and could hardly speak to him, or bear to look at him. At length turning her eyes upon him, she said, "And do you believe I could make my poor sorry case out in this world without Iroldo? Can he bear, himself, to think of leaving his Tisbina? he who has so often said, that if he possessed heaven itself, he should not think it heaven without her? O dearest husband, there is a way to make death not bitter to either of us. It is to die together. I must only exist long enough to see Prasildo! Death, alas! is in that thought; but the same death will release us. It need not even be a hard death, saving our misery. There are poisons so gentle in their deadliness, that we need but faint away into sleep, and so, in the course of a few hours, be delivered. Our misery and our folly will then alike be ended."

Iroldo assenting, clasped his wife in distraction; and for a long time they remained in the same posture, half stifled with grief, and bathing one another's cheeks with their tears. Afterwards they sent quietly for the poison; and the apothecary made up a preparation in a cup, without asking any questions; and so the husband and wife took it. Iroldo drank first, and then endeavoured to give the cup to his wife, uttering not a word, and trembling in every limb; not because he was afraid of death, but because he could not bear to ask her to share it. At length, turning away his face and looking down, he held the cup towards her, and she took it with a chilled heart and trembling hand, and drank the remainder to the dregs. Iroldo then covered his face and head, not daring to see her depart for the house of Prasildo; and Tisbina, with pangs bitterer than death, left him in solitude.

Tisbina, accompanied by a servant, went to Prasildo, who could scarcely believe his ears when he heard that she was at the door requesting to speak with him. He hastened down to shew her all honour, leading her from the door into a room by themselves; and when he found her in tears, addressed her in the most considerate and subdued, yet still not unhappy manner, taking her confusion for bashfulness, and never dreaming what a tragedy had been meditated.

Finding at length that her grief was not to be done away, he conjured her by what she held dearest on earth to let him know the cause of it; adding, that he could still die for her sake, if his death would do her any service. Tisbina spoke at these words; and Prasildo then heard what he did not wish to hear. "I am in your hands," answered she, "while I am yet alive. I am bound to my word, but I cannot survive the dishonour which it costs me, nor, above all, the loss of the husband of my heart. You also, to whose eyes I have been so welcome, must be prepared for my disappearance from the earth. Had my affections not belonged to another, ungentle would have been my heart not to have loved yourself, who are so capable of loving; but (as you must well know) to love two at once is neither fitting nor in one's power. It was for that reason I never loved you, baron; I was only touched with compassion for you; and hence the miseries of us all. Before this day closes, I shall have learnt the taste of death." And without further preface she disclosed to him how she and her husband had taken poison.

Prasildo was struck dumb with horror. He had thought his felicity at hand, and was at the same instant to behold it gone for ever. She who was rooted in his heart, she who carried his life in her sweet looks, even she was sitting there before him, already, so to speak, dead.

"It has pleased neither Heaven nor you, Tisbina," exclaimed the unhappy young man, "to put my best feelings to the proof. Often have two lovers perished for love; the world will now behold a sacrifice of three. Oh, why did you not make a request to me in your turn, and ask me to free you from your promise? You say you took pity on me! Alas, cruel one, confess that you have killed yourself, in order to kill me. Yet why? Never did I think of giving you displeasure; and I now do what I would have done at any time to prevent it, I absolve you from your oath. Stay, or go this instant, as it seems best to you."

A stronger feeling than compassion moved the heart of Tisbina at these words. "This indeed," replied she, "I feel to be noble; and truly could I also now die to save you. But life is flitting; and how may I prove my regard?"

Prasildo, who had in good earnest resolved that three instead of two should perish, experienced such anguish at the extraordinary position in which he found all three, that even her sweet words came but dimly to his ears. He stood like a man stupified; then begged of her to give him but one kiss, and so took his leave without further ado, only intimating that her way out of the house lay before her. As he spake, he removed himself from her sight.

Tisbina reached home. She found her husband with his head covered up as she left him; but when she recounted what had passed, and the courtesy of Prasildo, and how he had exacted from her but a single kiss, Iroldo got up, and removed the covering from his face, and then clasping his hands, and raising it to heaven, he knelt with grateful humility, and prayed God to give pardon to himself, and reward to his neighbour. But before he had ended, Tisbina sunk on the floor in a swoon. Her weaker frame was the first to undergo the effects of what she had taken. Iroldo felt icy chill to see her, albeit she seemed to sleep sweetly. Her aspect was not at all like death. He taxed Heaven with cruelty for treating two loving hearts so hardly, and cried out against Fortune, and life, and Love itself.

Nor was Prasildo happier in his chamber. He also exclaimed against the bitter tyrant "whom men call Love;" and protested, that he would gladly encounter any fate, to be delivered from the worse evils of his false and cruel ascendency.

But his lamentations were interrupted. The apothecary who sold the potion to the husband and wife was at the door below, requesting to speak with him. The servants at first had refused to carry the message; but the old man persisting, and saying it was a matter of life and death, entrance for him into his master's chamber was obtained. "Noble sir," said the apothecary, "I have always held you in love and reverence. I have unfortunately reason to fear that somebody is desiring your death. This morning a handmaiden of the lady Tisbina applied to me for a secret poison; and just now it was told me, that the lady herself had been at this house. I am old, sir, and you are young; and I warn you against the violence and jealousies of womankind. Talk of their flames of love! Satan himself burn them, say I, for they are fit for nothing better. Do not be too much alarmed, however, this time: for in truth I gave the young woman nothing of the sort that she asked for, but only a draught so innocent, that if you have taken it, it will cost you but four or five hours' sleep. So, in God's name, give up the whole foolish sex; for you may depend on it, that in this city of ours there are ninety-nine wicked ones among them to one good."

You may guess how Prasildo's heart revived at these words. Truly might he be compared to flowers in sunshine after rain; he rejoiced through all his being, and displayed again a cheerful countenance. Hastily thanking the old man, he lost no time in repairing to the house of his neighbours, and telling them of their safety: and you may guess how the like joy was theirs. But behold a wonder! Iroldo was so struck with the generosity of his neighbour's conduct throughout the whole of this extraordinary affair, that nothing would content his grateful though ever-grieving heart, but he must fairly give up Tisbina after all. Prasildo, to do him justice, resisted the proposition as stoutly as he could; but a man's powers are ill seconded by an unwilling heart; and though the contest was long and handsome, as is customary between generous natures, the husband adhered firmly to his intention. In short, he abruptly quitted the city, declaring that he would never again see it, and so left his wife to the lover. And I must add (concluded the fair lady who was telling the story to Rinaldo), that although Tisbina took his departure greatly to heart, and sometimes felt as if she should die at the thoughts of it, yet since he persisted in staying away, and there appeared no chance of his ever doing otherwise, she did, as in that case we should all do, we at least that are young and kind, and took the handsome Prasildo for second spouse.[3]

PART THE SECOND

The conclusion of this part of the history of Iroldo and Prasildo was scarcely out of the lady's mouth, when a tremendous voice was heard among the trees, and Rinaldo found himself confronting a giant of a frightful aspect, who with a griffin on each side of him was guarding a cavern that contained the enchanted horse which had belonged to the brother of Angelica. A combat ensued; and after winning the horse, and subsequently losing the company of the lady, the Paladin, in the course of his adventures, came upon a knight who lay lamenting in a green place by a fountain. The knight heeding nothing but his grief, did not perceive the new comer, who for some time remained looking at him in silence, till, desirous to know the cause of his sorrow, he dismounted from his horse, and courteously begged to be informed of it. The stranger in his turn looked a little while in silence at Rinaldo, and then told him he had resolved to die, in order to be rid of a life of misery. And yet, he added, it was not his own lot which grieved him, so much as that of a noble friend who would die at the same time, and who had nobody to help him.

The knight, who was no other than Tisbina's husband Iroldo, then briefly related the events which the reader has heard, and proceeded to state how he lead traversed the world ever since for two years, when it was his misfortune to arrive in the territories of the enchantress Falerina, whose custom it was to detain foreigners in prison, and daily give a couple of them (a lady and a cavalier) for food to a serpent which kept the entrance of her enchanted garden. To this serpent he himself was destined to be sacrificed, when Prasildo, the possessor of his wife Tisbina, hearing of his peril, set out instantly from Babylon, and rode night and day till he came to the abode of the enchantress, determined that nothing should hinder him from doing his utmost to save the life of a friend so generous. Save it he did, and that by a generosity no less devoted; for having attempted in vain to bribe the keeper of the prison, he succeeded in prevailing on the man to let him substitute himself for his friend; and he was that very day, perhaps that very moment, preparing for the dreadful death to which he would speedily be brought.

"I will not survive such a friend," concluded Iroldo. "I know I shall contend with his warders to no purpose; but let the wretches come, if they will, by thousands; I shall fight them to the last gasp. One comfort in death, one joy I shall at all events experience. I shall be with Prasildo in the other world. And yet when I think what sort of death he must endure, even the release from my own miseries afflicts me, since it will not prevent him from undergoing that horror."

The Paladin shed tears to hear of a case so piteous and affectionate, and in a tone of encouragement offered his services towards the rescue of his friend. Iroldo looked at him in astonishment, but sighed and said, "Ah, Sir, I thank you with all my heart, and you are doubtless a most noble cavalier, to be so fearless and good-hearted; but what right have I to bring you to destruction for no reason and to no purpose? There is not a man on earth but Orlando himself, or his cousin Rinaldo, who could possibly do us any good; and so I beg you to accept my thanks and depart in safety, and may God reward you."

"It is true," replied the Paladin, "I am not Orlando; and yet, for all that, I doubt not to be able to effect what I propose. Nor do I offer my assistance out of desire of glory, or of thanks, or return of any kind; except indeed, that if two such unparalleled friends could admit me to be a third, I should hold myself a happy man. What! you have given up the woman of your heart, and deprived yourself of all joy and comfort; and your friend, on the other hand, has become a prisoner and devoted to death, for your sake; and can I be expected to leave two such friends in a jeopardy so monstrous, and not do all in my power to save them? I would rather die first myself, and on your own principle; I mean, in order to go with you into a better world."

While they were talking in this manner, a great ill-looking rabble, upwards of a thousand strong, made their appearance, carrying a banner, and bringing forth two prisoners to die. The wretches were armed after their disorderly fashion; and the prisoners each tied upon a horse. One of these hapless persons too surely was Prasildo; and the other turned out to be the damsel who had told Rinaldo the story of the friends. Having been deprived of the Paladin's assistance, her subsequent misadventures had brought her to this terrible pass. The moment Rinaldo beheld her, he leaped on his horse, and dashed among the villains. The sight of such an onset was enough for their cowardly hearts. The whole posse fled before him with precipitation, all except the leader, who was a villain of gigantic strength; and him the Paladin, at one blow, clove through the middle. Iroldo could not speak for joy, as he hastened to release Prasildo. He was forced to give him tears instead of words. But when speech at length became possible, the two friends, fervently and with a religious awe, declared that their deliverer must have been divine and not human, so tremendous was the death-blow he had given the ruffian, and such winged and contemptuous slaughter he had dealt among the fugitives. By the time he returned from the pursuit, their astonishment had risen to such a pitch, that they fell on their knees and worshipped him for the Prophet of the Saracens, not believing such prowess possible to humanity, and devoutly thanking him for the mercy he had shewn them in coming thus visibly from heaven. Rinaldo for the moment was not a little disturbed at this sally of enthusiasm; but the singular good faith and simplicity of it restored him to himself; and with a smile between lovingness and humility he begged them to lay aside all such fancies, and know him for a man like themselves. He then disclosed himself for the Rinaldo of whom they had spoken, and made such an impression on them with his piety, and his attributing what had appeared a superhuman valour to nothing but his belief in the Christian religion, that the transported friends became converts on the spot, and accompanied him thenceforth as the most faithful of his knights.

* * * * *

The story tells us nothing further of Tisbina, though there can be no doubt that Boiardo meant to give us the conclusion of her share in it; for the two knights take an active part in the adventures of their new friend Rinaldo. Perhaps, however, the discontinuance of the poem itself was lucky for the author, as far as this episode was concerned; for it is difficult to conceive in what manner he would have wound it up to the satisfaction of the reader.

[Footnote 1: The hero and heroine of the famous romance of _Tristan de Leonois_.]

[Footnote 2: "Mr. Rose observes, that Medusa may be designed by Boiardo as the 'type of conscience;' and he is confirmed in his opinion by the circumstance mentioned in this canto (12, lib. i. stan. 39) of Medusa not being able to contemplate the reflection of her own hideous appearance, though beautiful in the sight of others. I fully agree with him."--PANIZZI, _ut sup_. Vol. iii p. 333.]

[Footnote 3: "Tisbina," says Panizzi, in a note on this passage, "very wisely acted like Emilia (in Chaucer), who, when she saw she could not marry Arcita, because he was killed, thought of marrying Palemone, rather than 'be a mayden all hire lyf.' It is to be observed, that although she regretted very much what had happened, and even fainted away, she did not, however, stand on ceremonies, as the poet says in the next stanza, but yielded immediately, and married Prasildo. This, at first, I thought to be a somewhat inconsistent; but on consideration I found I was wrong. Tisbina was wrong; because, having lost Iroldo, she did not know what Prasildo would do; but so soon as the latter offered to fill up the place, she nobly and magnanimously resigned herself to her fate."--_Ut sup_. vol. iii. p. 336.

It might be thought inconsistent in Tisbina, notwithstanding Mr. Panizzi's pleasantry, to be so willing to take another husband, after having poisoned herself for the first; but she seems intended by the poet to exhibit a character of impulse in contradistinction to permanency of sentiment. She cannot help shewing pity for Prasildo; she cannot help poisoning herself for her husband; and she cannot help taking his friend, when she has lost him. Nor must it be forgotten, that the husband was the first to break the tie. We respect him more than we do her, because he was capable of greater self-denial; but if he himself preferred his friend to his love, we can hardly blame her (custom apart) for following the example.]

SEEING AND BELIEVING.

ARGUMENT

A lady has two suitors, a young and an old one, the latter of whom wins her against her inclinations by practising the artifice of Hippomanes in his race with Atalanta. Being very jealous, he locks her up in a tower; and the youth, who continued to be her lover, makes a subterraneous passage to it; and pretending to have married her sister, invites the old man to his house, and introduces his own wife to him as the bride. The husband, deceived, but still jealous, facilitates their departure out of the country, and returns to his tower to find himself deserted.

This story, like that of the _Saracen Friends_, is told by a damsel to a knight while riding in his company; with this difference, that she is the heroine of it herself. She is a damsel of a nature still lighter than the former; and the reader's sympathy with the trouble she brings on herself, and the way she gets out of it, will be modified accordingly. On the other hand, nobody can respect the foolish old man with his unwarrantable marriage; and the moral of Boiardo's story is still useful for these "enlightened times," though conveyed with an air of levity.

In addition to the classics, the poet has been to the Norman fablers for his story. The subterranean passage has been more than once repeated in romance; and the closing incident, the assistance given by the husband to his wife's elopement, has been imitated in the farce of _Lionel and Clarissa._

SEEING AND BELIEVING.

My father (said the damsel) is King of the Distant Islands, where the treasure of the earth is collected. Never was greater wealth known, and I was heiress of it all.

But it is impossible to foresee what is most to be desired for us in this world. I was a king's daughter, I was rich, I was handsome, I was lively; and yet to all those advantages I owed my ill-fortune.

Among other suitors for my hand there came two on the same day, one of whom was a youth named Ordauro, handsome from head to foot; the other an old man of seventy, whose name was Folderico. Both were rich and of noble birth; but the greybeard was counted extremely wise, and of a foresight more than human. As I did not feel in want of his foresight, the youth was far more to my taste; and accordingly I listened to him with perfect good-will, and gave the wise man no sort of encouragement. I was not at liberty, however, to determine the matter; my father had a voice in it; so, fearing what he would advise, I thought to secure a good result by cunning and management. It is an old observation, that the craft of a woman exceeds all other craft. Indeed, it is Solomon's own saying. But now-a-days people laugh at it; and I found to my cost that the laugh is just. I requested my father to proclaim, first, that nobody should have me in marriage who did not surpass me in swiftness (for I was a damsel of a mighty agility); and secondly, that he who did surpass me should be my husband. He consented, and I thought my happiness secure. You must know, I have run down a bird, and caught it with my own hand.

Well, both my suitors came to the race; the youth on a large war-horse, trapped with gold, which curvetted in a prodigious manner, and seemed impatient for a gallop; the old roan on a mule, carrying a great bag at his side, and looking already tired out. They dismounted on the place chosen for the trial, which was a meadow. It was encircled by a world of spectators; and the greybeard and myself (for his age gave him the first chance) only waited for the sound of the trumpet to set off.

I held my competitor in such contempt, that I let him get the start of me, on purpose to make him ridiculous; but I was not prepared for his pulling a golden apple out of his bag, and throwing it as far as he could in a direction different from that of the goal. The sight of a curiosity so tempting was too much for my prudence; and it rolled away so roundly, and to such a distance, that I lost more time in reaching it than I looked for. Before I overtook the old gentleman, he threw another apple, and this again led me a chase after it. In short, I blush to say, that, resolved as I was to be tempted no further, seeing that the end of our course was now at hand, and my marriage with an old man instead of a young man was out of the question, he seduced me to give chase to a third apple, and fairly reached the goal before me. I wept for rage and disgust, and meditated every species of unconjugal treatment of the old fox. What right had he to marry such a child as I was? I asked myself the question at the time; I asked it a thousand times afterwards; and I must confess, that the more I have tormented him, the more the retaliation delights me.

However, it was of no use at the moment. The old wretch bore me off to his domains with an ostentatious triumph; and then, his jealousy misgiving him, he shut me up in a castle on a rock, where he endeavoured from that day forth to keep me from the sight of living being. You may judge what sort of castle it was by its name--_Altamura_ (lofty wall). It overlooked a desert on three sides, and the sea on the fourth; and a man might as well have flown as endeavoured to scale it. There was but one path up to the entrance, very steep and difficult; and when you were there, you must have pierced outwork after outwork, and picked the lock of gate after gate. So there sat I in this delicious retreat, hopeless, and bursting with rage. I called upon death day and night, as my only refuge. I had no comfort but in seeing my keeper mad with jealousy, even in that desolate spot. I think he was jealous of the very flies.

My handsome youth, Ordauro, however, had not forgotten me; no, nor even given me up. Luckily he was not only very clever, but rich besides; without which, to be sure, his brains would not have availed him a pin. What does he do, therefore, but take a house in the neighbourhood on the sea-shore; and while my tormentor, in alarm and horror, watches every movement, and thinks him coming if he sees a cloud or a bird, Ordauro sets people secretly to work night and day, and makes a subterraneous passage up to the very tower! Guess what I felt when I saw him enter! Assuredly I did not show him the face which I shewed Folderico. I die with joy this moment to think of my delight. As soon as we could discourse of any thing but our meeting, Ordauro concerted measures for my escape; and the greatest difficulty being surmounted by the subterraneous passage, they at last succeeded. But our enemy gave us a frightful degree of trouble.

There was no end of the old man's pryings, peepings, and precautions. He left me as little as possible by myself; and he had all the coast thereabouts at his command, together with the few boats that ever touched it.

Ordauro, however, did a thing at once the most bold and the most ingenious. He gave out that he was married; and inviting my husband to dinner, who had heard the news with transport, presented me, to his astonished eyes, for the bride. The old man looked as if he would have died for rage and misery.

"Horrible villain!" cried he," what is this?"

Ordauro professed astonishment in his turn.

"What!" asked he; "do you not know that the princess, your lady's sister, is wonderfully like her, and that she has done me the honour of becoming my wife? I invited you in order to do honour to yourself, and so bring the good families together."

"Detestable falsehood!" cried Folderico. "Do you think I'm blind, or a born idiot? But I'll see to this business directly; and terrible shall be my revenge."

So saying, he flung out, and hastened, as fast as age would let him, to the room in the tower, where he expected to find me not. But there he did find me:--there was I, sitting as if nothing had happened, with my hand on my cheek, and full of my old melancholy.

"God preserve me!" exclaimed he; "this is astonishing indeed! Never could I have dreamt that one sister could be so like another! But is it so, or is it not? I have terrible suspicions. It is impossible to believe it. Tell me truly," he continued; "answer me on the faith of a daring woman, and you shall get no hurt by it. Has any one opened the portals for you to-day? Who was it? How did you get out? Tell me the truth, and you shall not suffer for it; but deceive me, and there is no punishment that you may not look for."

It is needless to say how I vowed and protested that I had never stirred; that it was quite impossible; that I could not have done it if I would, &c. I took all the saints to witness to my veracity, and swore I had never seen the outside of his tremendous castle.

The monster had nothing to say to this; but I saw what he meant to do--I saw that he would return instantly to the house of Ordauro, and ascertain if the bride was there. Accordingly, the moment he turned the key on me, I flew down the subterraneous passage, tossed on my new clothes like lightning, and sat in my lover's house as before, waiting the arrival of the panting old gentleman.

"Well," exclaimed he, as soon as he set eyes upon me, "never in all my life--no--I must allow it to be impossible--never can my wife at home be the lady sitting here."

From that day forth the old man, whenever he saw me in Ordauro's house, treated me as if I were indeed his sister-in-law, though he never had the heart to bring the two wives together, for fear of old recollections. Nevertheless, this state of things was still very perilous; and my new husband and myself lost no time in considering how we should put an end to it by leaving the country. Ordauro resorted, as before, to a bold expedient. He told Folderico that the air of the sea-coast disagreed with him; and the old man, whose delight at getting rid of his neighbour helped to blind him to the deceit, not only expedited the movement, but offered to see him part of the way on his journey!

The offer was accepted. Six miles he rode forth with us, the stupid old man; and then, taking his leave, to return home, we pushed our horses like lightning, and so left him to tear his hair and his old beard with cries and curses, as soon as he opened the door of his tower.

ARIOSTO:

Critical Notice of his Life and Genius.

CRITICAL NOTICE

OF

ARIOSTO'S LIFE AND GENIUS.[1]

The congenial spirits of Pulci and Boiardo may be said to have attained to their height in the person of Ariosto, upon the principle of a transmigration of souls, or after the fashion of that hero in romance, who was heir to the bodily strengths of all whom he conquered.

Lodovico Giovanni Ariosto was born on the 8th of September, 1474, in the fortress at Reggio, in Lombardy, and was the son of Niccolò Ariosto, captain of that citadel (as Boiardo had been), and Daria Maleguzzi, whose family still exists. The race was transplanted from Bologna in the century previous, when Obizzo the Third of Este, Marquess of Ferrara, married a lady belonging to it, whose Christian name was Lippa. Niccolò Ariosto, besides holding the same office as Boiardo had done, at Modena as well as at Reggio, was master of the household to his two successive patrons, the Dukes Borso and Ercole. He was also employed, like him, in diplomacy; and was made a count by the Emperor Frederick the Third, though not, it seems, with remainder to his heirs.

Lodovico was the eldest of ten children, five sons and five daughters. During his boyhood, theatrical entertainments were in great vogue at court, as we have seen in the life of Boiardo; and at the age of twelve, a year after the decease of that poet (who must have been well known to him, and probably encouraged his attempts), his successor is understood to have dramatised, after his infant fashion, the story of Pyramus and Thisbe, and to have got his brothers and sisters to perform it. Panizzi doubts the possibility of these precocious private theatricals; but considering what is called "writing" on the part of children, and that only one other performer was required in the piece, or at best a third for the lion (which some little brother might have "roared like any sucking-dove"), I cannot see good reason for disbelieving the story. Pope was not twelve years old when he turned the siege of Troy into a play, and got his school-fellows to perform it, the part of Ajax being given to the gardener. Man is a theatrical animal ([Greek: zoon mimaetikon]), and the instinct is developed at a very early period, as almost every family can witness that has taken its children to the "playhouse."

At fifteen the young poet, like so many others of his class, was consigned to the study of the law, and took a great dislike to it. The extreme mobility of his nature, and the wish to please his father, appear to have made him enter on it willingly enough in the first instance;[2] but as soon as he betrayed symptoms of disgust, Niccolò, whose affairs were in a bad way, drove him back to it with a vehemence which must have made bad worse.[3] At the expiration of five years he was allowed to give it up.

There is reason to believe that Ariosto was "theatricalising" during no little portion of this time; for, in his nineteenth year, he is understood to have been taken by Duke Ercole to Pavia and to Milan, either as a writer or performer of comedies, probably both, since the courtiers and ducal family themselves occasionally appeared on the stage; and one of the poet's brothers mentions his having frequently seen him dressed in character.[4]

On being delivered from the study of the law, the young poet appears to have led a cheerful and unrestrained life for the next four or five years.

He wrote, or began to write, the comedy of the _Cassaria_; probably meditated some poem in the style of Boiardo, then in the height of his fame; and he cultivated the Latin language, and intended to learn Greek, but delayed, and unfortunately missed it in consequence of losing his tutor. Some of his happiest days were passed at a villa, still possessed by the Maleguzzi family, called La Mauriziana, two miles from Reggio. Twenty-five years afterwards he called to mind, with sighs, the pleasant spots there which used to invite him to write verses; the garden, the little river, the mill, the trees by the water-side, and all the other shady places in which he enjoyed himself during that sweet season of his life "betwixt April and May."[5] To complete his happiness, he had a friend and cousin, Pandolfo Ariosto, who loved every thing that he loved, and for whom he augured a brilliant reputation.

But a dismal cloud was approaching. In his twenty-first year he lost his father, and found a large family left on his hands in narrow circumstances. The charge was at first so heavy, especially when aggravated by the death of Pandolfo, that he tells us he wished to die. He took to it manfully, however, in spite of these fits of gloom; and he lived to see his admirable efforts rewarded; his brothers enabled to seek their fortunes, and his sisters properly taken care of. Two of them, it seems, had become nuns. A third married; and a fourth remained long in his house. It is not known what became of the fifth.

In these family-matters the anxious son and brother was occupied for three or four years, not, however, without recreating himself with his verses, Latin and Italian, and recording his admiration of a number of goddesses of his youth. He mentions, in particular, one of the name of Lydia, who kept him often from "his dear mother and household," and who is probably represented by the princess of the same name in the _Orlando_, punished in the smoke of Tartarus for being a jilt and coquette.[6] His friend Bembo, afterwards the celebrated cardinal, recommended him to be blind to such little immaterial points as ladies' infidelities. But he is shocked at the advice. He was far more of Othello's opinion than Congreve's in such matters; and declared, that he would not have shared his mistress' good-will with Jupiter himself.[7]

Towards the year 1504, the poet entered the service of the unworthy prince, Cardinal Ippolito of Este, brother of the new Duke of Ferrara, Alfonso the First. His eminence, who had been made a prince of the church at thirteen years of age by the infamous Alexander the Sixth (Borgia), was at this period little more than one-and-twenty; but he took an active part in the duke's affairs, both civil and military, and is said to have made himself conspicuous in his father's lifetime for his vices and brutality. He is charged with having ordered a papal messenger to be severely beaten for bringing him some unpleasant despatches: which so exasperated his unfortunate parent, that he was exiled to Mantua; and the marquess of that city, his brother-in-law, was obliged to come to Ferrara to obtain his pardon. But this was a trifle compared with what he is accused of having done to one of his brothers. A female of their acquaintance, in answer to a speech made her by the reverend gallant, had been so unlucky as to say that she preferred his brother Giulio's eyes to his eminence's whole body: upon which the monstrous villain hired two ruffians to put out his brother's eyes; some say, was present at the attempt. Attempt only it fortunately turned out to be, at least in part; the opinion being, that the sight of one of the eyes was preserved.[8]

Party-spirit has so much to do with stories of princes, and princes are so little in a condition to notice them, that, on the principle of not condemning a man till he has been heard in his defence, an honest biographer would be loath to credit these horrors of Cardinal Ippolito, did not the violent nature of the times, and the general character of the man, even with his defenders, incline him to do so. His being a soldier rather than a churchman was a fault of the age, perhaps a credit to the man, for he appears to have had abilities for war, and it was no crime of his if he was put into the church when a boy. But his conduct to Ariosto shewed him coarse and selfish; and those who say all they can for him admit that he was proud and revengeful, and that nobody regretted him when he died. He is said to have had a taste for mathematics, as his brother had for mechanics. The truth seems to be, that he and the duke, who lived in troubled times, and had to exert all their strength to hinder Ferrara from becoming a prey to the court of Rome, were clever, harsh men, of no grace or elevation of character, and with no taste but for war; and if it had not been for their connexion with Ariosto, nobody would have heard of them, except while perusing the annals of the time. Ippolito might have been, and probably was, the ruffian which the anecdote of his brother Giulio represents him; but the world would have heard little of the villany, had he not treated a poet with contempt.

The admirers of our author may wonder how he could become the servant of such a man, much more how he could praise him as he did in the great work which he was soon to begin writing. But Ariosto was the son of a man who had passed his life in the service of the family; he had probably been taught a loyal blindness to its defects; gratuitous panegyrics of princes had been the fashion of men of letters since the time of Augustus; and the poet wanted help for his relatives, and was of a nature to take the least show of favour for a virtue, till he had learnt, as he unfortunately did, to be disappointed in the substance. It is not known what his appointment was under the cardinal. Probably he was a kind of gentleman of all work; an officer in his guards, a companion to amuse, and a confidential agent for the transaction of business. The employment in which he is chiefly seen is that of an envoy, but he is said also to have been in the field of battle; and he intimates in his _Satires_, that household attentions were expected of him which he was not quick to offer, such as pulling off his eminence's boots, and putting on his spurs.[9] It is certain that he was employed in very delicate negotiations, sometimes to the risk of his life from the perils of roads and torrents. Ippolito, who was a man of no delicacy, probably made use of him on every occasion that required address, the smallest as well as greatest,--an interview with a pope one day, and a despatch to a dog-fancier the next.

His great poem, however, proceeded. It was probably begun before he entered the cardinal's service; certainly was in progress during the early part of his engagement. This appears from a letter written to Ippolito by his sister the Marchioness of Mantua, to whom he had sent Ariosto at the beginning of the year 1509 to congratulate her on the birth of a child. She gives her brother special thanks for sending his message to her by "Messer Ludovico Ariosto," who had made her, she says, pass two delightful days, with giving her an account of the poem he was writing.[10] Isabella was the name of this princess; and the grateful poet did not forget to embalm it in his verse.[11]

Ariosto's latest biographer, Panizzi, thinks he never served under any other leader than the cardinal; but I cannot help being of opinion with a former one, whom he quotes, that he once took arms under a captain of the name of Pio, probably a kinsman of his friend Alberto Pio, to whom he addresses a Latin poem. It was probably on occasion of some early disgust with the cardinal; but I am at a loss to discover at what period of time. Perhaps, indeed, he had the cardinal's permission, both to quit his service, and return to it. Possibly he was not to quit it at all, except according to events; but merely had leave given him to join a party in arms, who were furthering Ippolito's own objects. Italy was full of captains in arms and conflicting interests. The poet might even, at some period of his life, have headed a troop under another cardinal, his friend Giovanni de' Medici, afterwards Leo the Tenth. He had certainly been with him in various parts of Italy; and might have taken part in some of his bloodless, if not his most military, equitations.

Be this as it may, it is understood that Ariosto was present at the repulse given to the Venetians by Ippolito, when they came up the river Po against Ferrara towards the close of the year 1509; though he was away from the scene of action at his subsequent capture of their flotilla, the poet having been despatched between the two events to Pope Julius the Second on the delicate business of at once appeasing his anger with the duke for resisting his allies, and requesting his help to a feudatary of the church. Julius was in one of his towering passions at first, but gave way before the address of the envoy, and did what he desired. But Ariosto's success in this mission was nearly being the death of him in another; for Alfonso having accompanied the French the year following in their attack on Vicenza, where they committed cruelties of the same horrible kind as have shocked Europe within a few months past,[12] the poet's tongue, it was thought, might be equally efficacious a second time; but Julius, worn out of patience with his too independent vassal, who maintained an alliance with the French when the pope had ceased to desire it, was to be appeased no longer. He excommunicated Alfonso, and threatened to pitch his envoy into the Tiber; so that the poet was fain to run for it, as the duke himself was afterwards, when he visited Rome to be absolved. Would Julius have thus treated Ariosto, could he have foreseen his renown? Probably he would. The greater the opposition to the will, the greater the will itself. To chuck an accomplished envoy into the river would have been much; but to chuck the immortal poet there, laurels and all, in the teeth of the amazement of posterity, would have been a temptation irresistible.

It was on this occasion that Ariosto, probably from inability to choose his times or anodes of returning home, contracted a cough, which is understood to have shortened his existence; so that Julius may have killed him after all. But the pope had a worse enemy in his own bosom--his violence--which killed himself in a much shorter period. He died in little more than two years afterwards; and the poet's prospects were all now of a very different sort--at least he thought so; for in March 1513, his friend Giovanni de' Medici succeeded to the papacy, under the title of Leo the Tenth.

Ariosto hastened to Rome, among a shoal of visitants, to congratulate the new pope, perhaps not without a commission from Alfonso to see what he could do for his native country, on which the rival Medici family never ceased to have designs. The poet was full of hope, for he had known Leo under various fortunes; had been styled by him not only a friend, but a brother; and promised all sorts of participations of his prosperity. Not one of them came. The visitor was cordially received. Leo stooped from his throne, squeezed his hand, and kissed him on both his cheeks; but "at night," says Ariosto, "I went all the way to the Sheep to get my supper, wet through." All that Leo gave him was a "bull," probably the one securing to him the profits of his _Orlando;_ and the poet's friend Bibbiena--wit, cardinal, and kinsman of Berni--facilitated the bull, but the receiver discharged the fees. He did not get one penny by promise, pope, or friend.[13] He complains a little, but all in good humour; and good-naturedly asks what he was to expect, when so many hungry kinsmen and partisans were to be served first. Well and wisely asked too, and with a superiority to his fortunes which Leo and Bibbiena might have envied.

It is thought probable, however, that if the poet had been less a friend to the house of Este, Leo would have kept his word with him, for their intimacy had undoubtedly been of the most cordial description. But it is supposed that Leo was afraid he should have a Ferrarese envoy constantly about him, had he detained Ariosto in Rome. The poet, however, it is admitted, was not a good hunter of preferment. He could not play the assenter, and bow and importune: and sovereigns, however friendly they may have been before their elevation, go the way of most princely flesh when they have attained it. They like to take out a man's gratitude beforehand, perhaps because they feel little security in it afterwards.

The elevation to the papacy of the cheerful and indulgent son of Lorenzo de' Medici, after the troublous reign of Julius, was hailed with delight by all Christendom, and nowhere more so than in the pope's native place, Florence. Ariosto went there to see the spectacles; and there, in the midst of them, he found himself robbed of his heart by the lady whom he afterwards married. Her name was Alessandra Benucci. She was the widow of one of the Strozzi family, whom he had known in Ferrara, and he had long admired her. The poet, who, like Petrarch and Boccaccio, has recorded the day on which he fell in love, which was that of St. John the Baptist (the showy saint-days of the south offer special temptations to that effect), dwells with minute fondness on the particulars of the lady's appearance. Her dress was black silk, embroidered with two grape-bearing vines intertwisted; and "between her serene forehead and the path that went dividing in two her rich and golden tresses," was a sprig of laurel in bud. Her observer, probably her welcome if not yet accepted lover, beheld something very significant in this attire; and a mysterious poem, in which he records a device of a black pen feathered with gold, which he wore embroidered on a gown of his own, has been supposed to allude to it. As every body is tempted to make his guess on such occasions, I take the pen to have been the black-haired poet himself, and the golden feather the tresses of the lady. Beautiful as he describes her, with a face full of sweetness, and manners noble and engaging, he speaks most of the charms of her golden locks. The black gown could hardly have implied her widowhood: the allusion would not have been delicate. The vine belongs to dramatic poets, among whom the lover was at that time to be classed, the _Orlando_ not having appeared. Its duplification intimated another self; and the crowning laurel was the success that awaited the heroic poet and the conqueror of the lady's heart.[14]

The marriage was never acknowledged. The husband was in the receipt of profits arising from church-offices, which put him into the condition of the fellow of a college with us, who cannot marry so long as he retains his fellowship: but it is proved to have taken place, though the date of it is uncertain. Ariosto, in a satire written three or four years after his falling in love, says he never intends either to marry or to take orders; because, if he takes orders, he cannot marry; and if he marries, he cannot take orders--that is to say, must give up his semi-priestly emoluments. This is one of the falsehoods which the Roman Catholic religion thinks itself warranted in tempting honest men to fall into; thus perplexing their faith as to the very roots of all faith, and tending to maintain a sensual hypocrisy, which can do no good to the strongest minds, and must terribly injure the weak.

Ariosto's love for this lady I take to have been one of the causes of dissatisfaction between him and the cardinal. "Fortunately for the poet," as Panizzi observes, Ippolito was not always in Ferrara. He travelled in Italy, and he had an archbishopric in Hungary, the tenure of which compelled occasional residence. His company was not desired in Rome, so that he was seldom there. Ariosto, however, was an amusing companion; and the cardinal seems not to have liked to go anywhere without him. In the year 1515 he was attended by the poet part of the way on a journey to Rome and Urbino; but Ariosto fell ill, and had leave to return. He confesses that his illness was owing to an anxiety of love; and he even makes an appeal to the cardinal's experience of such feelings; so that it might seem he was not afraid of Ippolito's displeasure in that direction. But the weakness which selfish people excuse in themselves becomes a "very different thing" (as they phrase it) in another. The appeal to the cardinal's experience might only have exasperated him, in its assumption of the identity of the case. However, the poet was, at all events, left this time to the indulgence of his love and his poetry; and in the course of the ensuing year, a copy of the first edition of the _Orlando Furioso_, in forty cantos, was put into the hands of the illustrious person to whom it was dedicated.

The words in which the cardinal was pleased to express himself on this occasion have become memorable. "Where the devil, Master Lodovick," said the reverend personage, "have you picked up such a parcel of trumpery?" The original term is much stronger, aggravating the insult with indecency. There is no equivalent for it in English; and I shall not repeat it in Italian. "It is as low and indecent," says Panizzi, "as any in the language." Suffice it to say that, although the age was not scrupulous in such matters, it was one of the last words befitting the lips of the reverend Catholic; and that, when Ippolito of Este (as Ginguéné observes) made that speech to the great poet, "he uttered--prince, cardinal, and mathematician as he was--an impertinence."[15]

Was the cardinal put out of temper by a device which appeared in this book? On the leaf succeeding the title-page was the privilege for its publication, granted by Leo in terms of the most flattering personal recognition.[16] So far so good; unless the unpoetical Este patron was not pleased to see such interest taken in the book by the tasteful Medici patron. But on the back of this leaf was a device of a hive, with the bees burnt out of it for their honey, and the motto, "Evil for good" (_Pro bono malum_). Most biographers are of opinion that this device was aimed at the cardinal's ill return for all the sweet words lavished on him and his house. If so, and supposing Ariosto to have presented the dedication-copy in person, it would have been curious to see the faces of the two men while his Eminence was looking at it. Some will think that the good-natured poet could hardly have taken such an occasion of displaying his resentment. But the device did not express at whom it was aimed: the cardinal need not have applied it to himself if he did not choose, especially as the book was full of his praises; and good-natured people will not always miss an opportunity of covertly inflicting a sting. The device, at all events, shewed that the honey-maker had got worse than nothing by his honey; and the house of Este could not say they had done any thing to contradict it.

I think it probable that neither the poet's device nor the cardinal's speech were forgotten, when, in the course of the next year, the parties came to a rupture in consequence of the servant's refusing to attend his master into Hungary. Ariosto excused himself on account of the state of his health and of his family. He said that a cold climate did not agree with him; that his chest was affected, and could not bear even the stoves of Hungary; and that he could not, in common decency and humanity, leave his mother in her old age, especially as all the rest of the family were away but his youngest sister, whose interests he had also to take care of. But Ippolito was not to be appeased. The public have seen, in a late female biography, a deplorable instance of the unfeelingness with which even a princess with a reputation for religion could treat the declining health and unwilling retirement of a poor slave in her service, fifty times her superior in every thing but servility. Greater delicacy was not to be expected of the military priest. The nobler the servant, the greater the desire to trample upon him and keep him at a disadvantage. It is a grudge which rank owes to genius, and which it can only wave when its possessor is himself "one of God Almighty's gentlemen." I do not mean in point of genius, which is by no means the highest thing in the world, whatever its owners may think of it; but in point of the highest of all things, which is nobleness of heart. I confess I think Ariosto was wrong in expecting what he did of a man he must have known so well, and in complaining so much of courts, however good-humouredly. A prince occupies the station he does, to avert the perils of disputed successions, and not to be what his birth cannot make him--if nature has not supplied the materials. Besides, the cardinal, in his quality of a mechanical-minded man with no taste, might with reason have complained of his servant's attending to poetry when it was "not in his bond;" when it diverted him from the only attentions which his employer understood or desired. Ippolito candidly confessed, as Ariosto himself tells us, that he not only did not care for poetry, but never gave his attendant one stiver in patronage of it, or for any thing whatsoever but going his journeys and doing as he was bidden.[17] On the other hand, the cardinal's payments were sorry ones; and the poet might with justice have thought, that he was not bound to consider them an equivalent for the time be was expected to give up. The only thing to have been desired in this case was, that he should have said so; and, in truth, at the close of the explanation which he gave on the subject to his friends at court, he did--boldly desiring them, as became him, to tell the cardinal, that if his eminence expected him to be a "serf" for what he received, he should decline the bargain; and that he preferred the humblest freedom and his studies to a slavery so preposterous.[18] The truth is, the poet should have attached himself wholly to the Medici. Had he not adhered to the duller house, he might have led as happy a life with the pope as Pulci did with the pope's father; perhaps have been made a cardinal, like his friends Bembo and Sadolet. But then we might have lost the _Orlando_.

The only sinecure which the poet is now supposed to have retained, was a grant of twenty-five crowns every four months on the episcopal chancery of Milan: so, to help out his petty income, he proceeded to enter into the service of Alfonso, which shews that both the brothers were not angry with him. He tells us, that he would gladly have had no new master, could he have helped it; but that, if he must needs serve, he would rather serve the master of every body else than a subordinate one. At this juncture he had a brief prospect of being as free as he wished; for an uncle died leaving a large landed property still known as the Ariosto lands (_Le Arioste_); but a convent demanded it on the part of one of their brotherhood, who was a natural son of this gentleman; and a more formidable and ultimately successful claim was advanced in a court of law by the Chamber of the Duchy of Ferrara, the first judge in the cause being the duke's own steward and a personal enemy of the poet's. Ariosto, therefore, while the suit was going on, was obliged to content himself with his fees from Milan and a monthly allowance which he received from the duke of "about thirty-eight shillings," together with provisions for three servants and two horses. He entered the duke's service in the spring of 1518, and remained in it for the rest of his life. But it was not so burden-some as that of the cardinal; and the consequence of the poet's greater leisure was a second edition of the _Furioso_, in the year 1521, with additions and corrections; still, however, in forty cantos only. It appears, by a deed of agreement,[19] that the work was printed at the author's expense; that he was to sell the bookseller one hundred copies for sixty livres (about 5_l_. 12_s_.) on condition of the book's not being sold at the rate of more than sixteen sous (1_s_. 8_d_.); that the author was not to give, sell, or allow to be sold, any copy of the book at Ferrara, except by the bookseller; that the bookseller, after disposing of the hundred copies, was to have as many more as he chose on the same terms; and that, on his failing to require a further supply, Ariosto was to be at liberty to sell his volumes to whom he pleased. "With such profits," observes Panizzi, "it was not likely that the poet would soon become independent;" and it may be added, that he certainly got nothing by the first edition, whatever he may have done by the second. He expressly tells us, in the satire which he wrote on declining to go abroad with Ippolito, that all his poetry had not procured him money enough to purchase a cloak.[20] Twenty years afterwards, when he was dead, the poem was in such request, that, between 1542 and 1551, Panizzi calculates there must have been a sale of it in Europe to the amount of a hundred thousand copies.[21]

The second edition of the _Furioso_ did not extricate the author from very serious difficulties; for the next year he was compelled to apply to either to relieve him from his necessities, or permit him to look for some employment more profitable than the ducal service. The answer of this prince, who was now rich, but had always been penurious, and who never laid out a farthing, if he could help it, except in defence of his capital, was an appointment of Ariosto to the government of a district in a state of anarchy, called Garfagnana, which had nominally returned to his rule in consequence of the death of Leo, who had wrested it from him. It was a wild spot in the Apennines, on the borders of the Ferrarese and papal territories. Ariosto was there three years, and is said to have reduced it to order; but, according to his own account, he had very doubtful work of it. The place was overrun with banditti, including the troops commissioned to suppress them. It required a severer governor than he was inclined to be; and Alfonso did not attend to his requisitions for supplies. The candid and good-natured poet intimates that the duke might have given him the appointment rather for the governor's sake than the people's; and the cold, the loneliness and barrenness of the place, and, above all, his absence from the object of his affections, oppressed him. He did not write a verse for twelve months: he says he felt like a bird moulting[22]. The best thing got out of it was an anecdote for posterity. The poet was riding out one day with a few attendants--some say walking out in a fit of absence of mind--when he found himself in the midst of a band of outlaws, who, in a suspicious manner, barely suffered him to pass. A reader of Mrs. Radcliffe might suppose them a band of _condottieri_, under the command of some profligate desperado; and such perhaps they were. The governor had scarcely gone by, when the leader of the band, discovering who he was, came riding back with much earnestness, and making his obeisance to the poet, said, that he never should have allowed him to pass in that manner had he known him to be the Signor Ludovico Ariosto, author of the _Orlando Furioso_; that his own name was Filippo Pacchione (a celebrated personage of his order); and that his men and himself, so far from doing the Signor displeasure, would have the honour of conducting him back to his castle. "And so they did," says Baretti, "entertaining him all along the way with the various excellences they had discerned in his poem, and bestowing upon it the most rapturous praises[23]."

On his return from Garfagnana, Ariosto is understood to have made several journeys in Italy, either with or without the duke his master; some of them to Mantua, where it has been said that he was crowned with laurel by the Emperor Charles the Fifth. But the truth seems to be, that he only received a laureate diploma: it does not appear that Charles made him any other gift. His majesty, and the whole house of Este, and the pope, and all the other Italian princes, left that to be done by the imperial general, the celebrated Alfonso Davallos, Marquess of Vasto, to whom he was sent on some mission by the Duke of Ferrara, and who settled on him an annuity of a hundred golden ducats; "the only reward," says Panizzi, "which we find to have been conferred on Ariosto expressly as a poet."[24] Davallos was one of the conquerors of Francis the First, young and handsome, and himself a writer of verses. The grateful poet accordingly availed himself of his benefactor's accomplishments to make him, in turn, a present of every virtue under the sun. Cæsar was not so liberal, Nestor so wise, Achilles so potent, Nireus so beautiful, nor even Ladas, Alexander's messenger, so swift.[25] Ariosto was now verging towards the grave; and he probably saw in the hundred ducats a golden sunset of his cares.

Meantime, however, the poet had built a house, which, although small, was raised with his own money; so that the second edition of the _Orlando_ may have realised some profits at last. He recorded the pleasant fact in an inscription over the door, which has become celebrated:

"Parva, sed apta mihi; sed nulli obnoxia; sed non Sordida; parta meo sed tamen acre domus." Small, yet it suits me; is of no offence; Was built, not meanly, at my own expense.

What a pity (to compare great things with small) that he had not as long a life before him to enjoy it, as Gil Blas had with his own comfortable quotation over his retreat at Lirias![26]

The house still remains; but the inscription unfortunately became effaced; though the following one remains, which was added by his son Virginio:

"Sic domus hæc Areostea Propitios habeat deos, olim ut Pindarica."

Dear to the gods, whatever come to pass, Be Ariosto's house, as Pindar's was.

This was an anticipation--perhaps the origin--of Milton's sonnet about his own house, addressed to "Captains and Collonels," during the civil war.[27]

Davallos made the poet his generous present in the October of the year 1513; and in the same month of the year following the _Orlando_ was published as it now stands, with various insertions throughout, chiefly stories, and six additional cantos. Cardinal Ippolito had been dead some time; and the device of the beehive was exchanged for one of two vipers, with a hand and pair of shears cutting out their tongues, and the motto, "Thou hast preferred ill-will to good" (_Dilexisti malitiam super benignitatem_). The allusion is understood to have been to certain critics whose names have all perished, unless Sperone (of whom we shall hear more by and by) was one of them. The appearance of this edition was eagerly looked for; but the trouble of correcting the press, and the destruction of a theatre by fire which had been built under the poet's direction, did his health no good in its rapidly declining condition; and after suffering greatly from an obstruction, he died, much attenuated, on the sixth day of June, 1533. His decease, his fond biographers have told us, took place "about three in the afternoon;" and he was "aged fifty-eight years, eight months, and twenty-eight days." His body, according to his direction, was taken to the church of the Benedictines during the night by four men, with only two tapers, and in the most private and simple manner. The monks followed it to the grave out of respect, contrary to their usual custom.

So lived, and so died, and so desired humbly to be buried, one of the delights of the world.

His son Virginio had erected a chapel in the garden of the house built by his father, and he wished to have his body removed thither; but the monks would not allow it. The tomb, at first a very humble one, was subsequently altered and enriched several times; but remains, I believe, as rebuilt at the beginning of the century before last by his grand-nephew, Ludovico Ariosto, with a bust of the poet, and two statues representing Poetry and Glory.

Ariosto was tall and stout, with a dark complexion, bright black eyes, black and curling hair, aquiline nose, and shoulders broad but a little stooping. His aspect was thoughtful, and his gestures deliberate. Titian, besides painting his portrait, designed that which appeared in the woodcut of the author's own third edition of his poem, which has been copied into Mr. Panizzi's. It has all the look of truth of that great artist's vital hand; but, though there is an expression of the, genial character of the mouth, notwithstanding the exuberance of beard, it does not suggest the sweetness observable in one of the medals of Ariosto, a wax impression of which is now before me; nor has the nose so much delicacy and grace.[28]

The poet's temperament inclined him to melancholy, but his intercourse was always cheerful. One biographer says he was strong and healthy--another, that he was neither. In all probability he was naturally strong, but weakened by a life full of emotion. He talks of growing old at forty four, and of leaving been bald for some time.[29] He had a cough for many years before he died. His son says he cured it by drinking good old wine. Ariosto says that "vin fumoso" did not agree with him; but that might only mean wine of a heady sort. The chances, under such circumstances, were probably against wine of any kind; and Panizzi thinks the cough was never subdued. His physicians forbade him all sorts of stimulants with his food.[30]

His temper and habits were those of a man wholly given up to love and poetry. In his youth he was volatile, and at no time without what is called some "affair of the heart." Every woman attracted him who had modesty and agreeableness; and as, at the same time, he was very jealous, one might imagine that his wife, who had a right to be equally so, would have led no easy life. But it is evident he could practise very generous self-denial; and probably the married portion of his existence, supposing Alessandra's sweet countenance not to have belied her, was happy on both sides. He was beloved by his family, which is never the case with the unamiable. Among his friends were most Of the great names of the age, including a world of ladies, and the whole graceful court of Guidobaldo da Montefeltro, duke of Urbino, for which Catiglione wrote his book of the _Gentleman (Il Cortegiano)_. Raphael addressed him a sonnet, and Titian painted his likeness. He knew Vittoria Colonna, and Veronica da Gambera, and Giulia Gonzaga (whom the Turks would have run away with), and Ippolita Sforza, the beautiful blue-stocking, who set Bandello on writing his novels, and Bembo, and Flaminio, and Berni, and Molza, and Sannazzaro, and the Medici family, and Vida, and Macchiavelli; and nobody doubts that he might have shone at the court of Leo the brightest of the bright. But he thought it "better to enjoy a little in peace, than seek after much with trouble."[31] He cared for none of the pleasures of the great, except building, and that he was content to satisfy in Cowley's fashion, with "a small house in a large garden." He was plain in his diet, disliked ceremony, and was frequently absorbed in thought. His indignation was roused by mean and brutal vices; but he took a large and liberal view of human nature in general; and, if he was somewhat free in his life, must be pardoned for the custom of the times, for his charity to others, and for the genial disposition which made him an enchanting poet. Above all, he was an affectionate son; lived like a friend with his children; and, in spite of his tendency to pleasure, supplied the place of an anxious and careful father to his brothers and sisters, who idolized him.

"Ornabat pietas et grata modestia vatem,"

wrote his brother Gabriel,

"Sancta fides, dictique memor, munitaque recto Justitia, et nullo patientia victa labore, Et constans virtus animi, et elementia mitis, Ambitione procul pulsa fastûsque tumore; Credere uti posses natum felicibus horis, Felici fulgente astro Jovis atque Diones."[32]

Devoted tenderness adorn'd the bard, And grateful modesty, and grave regard To his least word, and justice arm'd with right, And patience counting every labour light, And constancy of soul, and meekness too, That neither pride nor worldly wishes knew. You might have thought him born when there concur The sweet star and the strong, Venus and Jupiter.

His son Virginio, and others, have left a variety of anecdotes corroborating points in his character. I shall give them all, for they put us into his company. It is recorded, as an instance of his reputation for honesty, that an old kinsman, a clergyman, who was afraid of being poisoned for his possessions, would trust himself in no other hands; but the clergyman was his own grand-uncle and namesake, probably godfather; so that the compliment is not so very great.

In his youth he underwent a long rebuke one day from his father without saying a word, though a satisfactory answer was in his power; on which his brother Gabriel expressing his surprise, he said that he was thinking all the time of a scene in a comedy he was writing, for which the paternal lecture afforded an excellent study.

He loved gardening better than he understood it; was always shifting his plants, and destroying the seeds, out of impatience to see them germinate. He was rejoicing once on the coming up of some "capers," which he had been visiting every day to see how they got on, when it turned out that his capers were elder-trees!

He was perpetually altering his verses. His manuscripts are full of corrections. He wrote the exordium of the _Orlando_ over and over again; and at last could only be satisfied with it in proportion as it was not his own; that is to say, in proportion as it came nearer to the beautiful passage in Dante from which his ear and his feelings had caught it.[33]

He, however, discovered that correction was not always improvement. He used to say, it was with verses as with trees. A plant naturally well growing might be made perfect by a little delicate treatment; but over-cultivation destroyed its native grace. In like manner, you might perfect a happily-inspired verse by taking away any little fault of expression; but too great a polish deprived it of the charm of the first conception. It was like over-training a naturally graceful child. If it be wondered how he who corrected so much should succeed so well, even to an appearance of happy negligence, it is to be considered that the most impulsive writers often put down their thoughts too hastily, then correct and re-correct them in the same impatient manner; and so have to bring them round, by as many steps, to the feeling which they really had at first, though they were too hasty to do it justice.

Ariosto would have altered his house as often as his verses, but did not find it so convenient. Somebody wondering that he contented himself with so small an abode, when he built such magnificent mansions in his poetry, he said it was easier to put words together than blocks of stone.[34]

He liked Virgil; commended the style of Tibullus; did not care for Propertius; but expressed high approbation of Catullus and Horace. I suspect his favourite to have been Ovid. His son says he did not study much, nor look after books; but this may have been in his decline, or when Virginio first took to observing him. A different conclusion as to study is to be drawn from the corrected state of his manuscripts, and the variety of his knowledge; and with regard to books, he not only mentions the library of the Vatican as one of his greatest temptations to visit Rome, but describes himself, with all the gusto of a book-worm, as enjoying them in his chimney-corner.[35]

To intimate his secrecy in love-matters, he had an inkstand with a Cupid on it, holding a finger on his lips. I believe it is still in existence.[36] He did not disclose his mistresses' names, as Dante did, for the purpose of treating them with contempt; nor, on the other hand, does he appear to have been so indiscriminately gallant as to be fond of goitres.[37] The only mistress of whom he complained he concealed in a Latin appellation; and of her he did not complain with scorn. He had loved, besides Alessandra Benucci, a lady of the name of Ginevra; the mother of one of his children is recorded as a certain Orsolina; and that of the other was named Maria, and is understood to have been a governess in his father's family.[38]

He ate fast, and of whatever was next him, often beginning with the bread on the table before the dishes came; and he would finish his dinner with another bit of bread. "Appetiva le rape," says his good son; videlicet, he was fond of turnips. In his fourth Satire, he mentions as a favourite dish, turnips seasoned with vinegar and boiled _must_ (sapa), which seems, not unjustifiably, to startle Mr. Panizzi.[39] He cared so little for good eating, that he said of himself, he should have done very well in the days when people lived on acorns.

A stranger coming in one day at the dinner-hour, he ate up what was provided for both; saying afterwards, when told of it, that the gentleman should have taken care of himself. This does not look very polite; but of course it was said in jest. His son attributed this carelessness at table to absorption in his studies.

He carried this absence of mind so far, and was at the same time so good a pedestrian, that Virginio tells us he once walked all the way from Carpi to Ferrara in his slippers, owing to his having strolled out of doors in that direction.

The same biographers who describe him as a brave soldier, add, that he was a timid horseman and seaman; and indeed he appears to have eschewed every kind of unnecessary danger. It was a maxim of his, to be the last in going out of a boat. I know not what Orlando would have said to this; but there is no doubt that the good son and brother avoided no pain in pursuit of his duty. He more than once risked his life in the service of government from the perils of travelling among war-makers and banditti. Imagination finds something worthy of itself on great occasions, but is apt to discover the absurdity of staking existence on small ones. Ariosto did not care to travel out of Italy. He preferred, he says, going round the earth in a map; visiting countries without having to pay innkeepers, and ploughing harmless seas without thunder and lightning[40].

His outward religion, like the one he ascribed to his friend Cardinal Bembo, was "that of other people." He did not think it of use to disturb their belief; yet excused rather than blamed Luther, attributing his heresy to the necessary consequences of mooting points too subtle for human apprehension[41]. He found it impossible, however, to restrain his contempt of bigotry; and, like most great writers in Catholic countries, was a derider of the pretensions of devotees, and the discords and hypocrisies of the convent. He evidently laughed at Dante's figments about the other world; not at the poetry of them, for that he admired, and sometimes imitated, but at the superstition and presumption. He turned the Florentine's moon into a depository of non-sense; and found no hell so bad as the hearts of tyrants. The only other people he put into the infernal regions are ladies who were cruel to their lovers! He had a noble confidence in the intentions of his Creator; and died ill the expectation of meeting his friends again in a higher state of existence.

Of Ariosto's four brothers, one became a courtier at Naples, another a clergyman, another an envoy to the Emperor Charles the Fifth; and the fourth, who was a cripple and a scholar, lived with Lodovico, and celebrated his memory. His two sons, whose names were Virginio and Gianbattista, and who were illegitimate (the reader is always to bear in mind the more indulgent customs of Italy in matters of this nature, especially in the poet's time), became, the first a canon in the cathedral of Ferrara, and the other an officer in the army. It does not appear that he had any other children.

Ariosto's renown is wholly founded on the _Orlando Furioso_, though he wrote satires, comedies, and a good deal of miscellaneous poetry, all occasionally exhibiting a master-hand. The comedies, however, were unfortunately modelled on those of the ancients; and the constant termination of the verse with trisyllables contributes to render them tedious. What comedies might he not have written, had he given himself up to existing times and manners[42]!

The satires are rather good-natured epistles to his friends, written with a charming ease and straightforwardness, and containing much exquisite sense and interesting autobiography.

On his lyrical poetry he set little value; and his Latin verse is not of the best order. Critics have expressed their surprise at its inferiority to that of contemporaries inferior to him in genius; but the reason lay in the very circumstance. I mean, that his large and liberal inspiration could only find its proper vent in his own language; he could not be content with potting up little delicacies in old-fashioned vessels.

The _Orlando Furioso_ is, literally, a continuation of the _Orlando Innamorato_; so much so, that the story is not thoroughly intelligible without it. This was probably the reason of a circumstance that would be otherwise unaccountable, and that was ridiculously charged against him as a proof of despairing envy by the despairing envy of Sperone; namely, his never having once mentioned the name of his predecessor. If Ariosto had despaired of equalling Boiardo, he must have been hopeless of reaching posterity, in which case his silence must have been useless; and, in any case, it is clear that he looked on himself as the continuator of another's narration. But Boiardo was so popular when he wrote, that the very silence shews he must have thought the mention of his name superfluous. Still it is curious that he never should have alluded to it in the course of the poem. It could not have been from any dislike to the name itself, or the family; for in his Latin poems he has eulogised the hospitality of the house of Boiardo[43].

The _Furioso_ continued not only what Boiardo did, but what he intended to do; for as its subject is Orlando's love, and knight-errantry in general, so its object was to extol the house of Este, and deduce it from its fabulous ancestor Ruggiero. Orlando is the open, Ruggiero the covert hero; and almost all the incidents of this supposed irregular poem, which, as Panizzi has shewn, is one of the most regular in the world, go to crown with triumph and wedlock the originator of that unworthy race. This is done on the old groundwork of Charlemagne and his Paladins, of the treacheries of the house of Gan of Maganza, and of the wars of the Saracens against Christendom. Bradamante, the Amazonian _intended_ of Ruggiero, is of the same race as Orlando, and a great overthrower of infidels. Ruggiero begins with being an infidel himself, and is kept from the wars, like a second Achilles, by the devices of an anxious guardian, but ultimately fights, is converted, and marries; and Orlando all the while slays his thousands, as of old, loves, goes mad for jealousy, is the foolishest and wisest of mankind (somewhat like the poet himself); and crowns the glory of Ruggiero, not only by being present at his marriage, but putting on his spurs with his own hand when he goes forth to conclude the war by the death of the king of Algiers.

The great charm, however, of the _Orlando Furioso_ is not in its knight-errantry, or its main plot, or the cunning interweavement of its minor ones, but in its endless variety, truth, force, and animal spirits; in its fidelity to actual nature while it keeps within the bounds of the probable, and its no less enchanting verisimilitude during its wildest sallies of imagination. At one moment we are in the midst of flesh and blood like ourselves; at the next with fairies and goblins; at the next in a tremendous battle or tempest; then in one of the loveliest of solitudes; then hearing a tragedy, then a comedy; then mystified in some enchanted palace; then riding, dancing, dining, looking at pictures; then again descending to the depths of the earth, or soaring to the moon, or seeing lovers in a glade, or witnessing the extravagances of the great jealous hero Orlando; and the music of an enchanting style perpetually attends us, and the sweet face of Angelica glances here and there like a bud: and there are gallantries of all kinds, and stories endless, and honest tears, and joyous bursts of laughter, and beardings for all base opinions, and no bigotry, and reverence for whatsoever is venerable, and candour exquisite, and the happy interwoven names of "Angelica and Medoro," young for ever.

But so great a work is not to be dismissed with a mere rhapsody of panegyric. Ariosto is inferior, in some remarkable respects, to his predecessors Pulci and Boiardo. His characters, for the most part, do not interest us as much as theirs by their variety and good fellowship; he invented none as Boiardo did, with the exception, indeed, of Orlando's, as modified by jealousy; and he has no passage, I thick, equal in pathos to that of the struggle at Roncesvalles; for though Orlando's jealousy is pathetic, as well as appalling, the effects of it are confined to one person, and disputed by his excessive strength. Ariosto has taken all tenderness out of Angelica, except that of a kind of boarding-school first love (which, however, as here-after intimated, may have simplified and improved her general effect), and he has omitted all that was amusing in the character of Astolfo. Knight-errantry has fallen off a little in his hands from its first youthful and trusting freshness; more sophisticate times are opening upon us; and satire more frequently and bitterly interferes. The licentious passages (though never gross in words, like those of his contemporaries,) are not redeemed by sentiment as in Boiardo; and it seems to me, that Ariosto hardly improved so much as he might have done Upon his predecessor's imitations of the classics. I cannot help thinking that, upon the whole, he had better have left them alone, and depended entirely on himself. Shelley says, he has too much fighting and "revenge,"[44]--which is true; but the revenge was only among his knights. He was himself (like my admirable friend) one of the most forgiving of men; and the fighting was the taste of the age, in which chivalry was still flourishing in the shape of such men as Bayard, and ferocity in men like Gaston de Foix. Ariosto certainly did not anticipate, any more than Shakspeare did, that spirit of human amelioration which has ennobled the present age. He thought only of reflecting nature as he found it. He is sometimes even as uninteresting as he found other people; but the tiresome passages, thank God, all belong to the house of Este! His panegyrics of Ippolito and his ancestors recoiled on the poet with a retributive dulness.

But in all the rest there is a wonderful invigoration and enlargement. The genius of romance has increased to an extraordinary degree in power, if not in simplicity. Its shoulders have grown broader, its voice louder and more sustained; and if it has lost a little on the sentimental side, it has gained prodigiously, not only in animal vigour, but, above all, in knowledge of human nature, and a brave and joyous candour in shewing it. The poet takes a universal, an acute, and, upon the whole, a cheerful view, like the sun itself, of all which the sun looks on; and readers are charmed to see a knowledge at once so keen and so happy. Herein lies the secret of Ariosto's greatness; which is great, not because it has the intensity of Dante, or the incessant thought and passion of Shakspeare, or the dignified imagination of Milton, to all of whom he is far inferior in sustained excellence,--but because he is like very Nature herself. Whether great, small, serious, pleasureable, or even indifferent, he still has the life, ease, and beauty of the operations of the daily planet. Even where he seems dull and common-place, his brightness and originality at other times make it look like a good-natured condescension to our own common habits of thought and discourse; as though he did it but on purpose to leave nothing unsaid that could bring him within the category of ourselves. His charming manner intimates that, instead of taking thought, he chooses to take pleasure with us, and compare old notes; and we are delighted that he does us so much honour, and makes, as it were, Ariostos of us all. He is Shakspearian in going all lengths with Nature as he found her, not blinking the fact of evil, yet finding a "soul of goodness" in it, and, at the same time, never compromising the worth of noble and generous qualities. His young and handsome Medoro is a pitiless slayer of his enemies; but they were his master's enemies, and he would have lost his life, even to preserve his dead body. His Orlando, for all his wisdom and greatness, runs mad for love of a coquette, who triumphs over warriors and kings, only to fall in love herself with an obscure lad. His kings laugh with all their hearts, like common people; his mourners weep like such unaffected children of sorrow, that they must needs "swallow some of their tears."[45] His heroes, on the arrival of intelligence that excites them, leap out of bed and write letters before they dress, from natural impatience, thinking nothing of their "dignity." When Astolfo blows the magic horn which drives every body out of the castle of Atlantes, "not a mouse" stays behind;--not, as Hoole and such critics think, because the poet is here writing ludicrously, but because he uses the same image seriously, to give an idea of desolation, as Shakspeare in _Hamlet_ does to give that of silence, when "not a mouse is stirring." Instead of being mere comic writing, such incidents are in the highest epic taste of the meeting of extremes,--of the impartial eye with which Nature regards high and low. So, give Ariosto his hippogriff, and other marvels with which he has enriched the stock of romance, and Nature takes as much care of the verisimilitude of their actions, as if she had made them herself. His hippogriff returns, like a common horse, to the stable to which he has been accustomed. His enchanter, who is gifted with the power of surviving decapitation and pursuing the decapitator so long as a fated hair remains on his head, turns deadly pale in the face when it is scalped, and falls lifeless from his horse. His truth, indeed, is so genuine, and at the same time his style is so unaffected, sometimes so familiar in its grace, and sets us so much at ease in his company, that the familiarity is in danger of bringing him into contempt with the inexperienced, and the truth of being considered old and obvious, because the mode of its introduction makes it seem an old acquaintance. When Voltaire was a young man, and (to Anglicise a favourite Gallic phrase) fancied he had _profounded_ every thing deep and knowing, he thought nothing of Ariosto. Some years afterwards he took him for the first of grotesque writers, but nothing more. At last he pronounced him equally "entertaining and sublime, and humbly apologised for his error." Foscolo quotes this passage from the _Dictionnaire Philosophique_; and adds another from Sir Joshua Reynolds, in which the painter speaks of a similar inability on his own part, when young, to enjoy the perfect nature of Raphael, and the admiration and astonishment which, in his riper years, he grew to feel for it.[46]

The excessive "wildness" attributed to Ariosto is not wilder than many things in Homer, or even than some things in Virgil (such as the transformation of ships into sea-nymphs). The reason why it has been thought so is, that he rendered them more popular by mixing them with satire, and thus brought them more universally into notice. One main secret of the delight they give us is their being poetical comments, as it were, on fancies and metaphors of our own. Thus, we say of a suspicious man, that he is suspicion itself; Ariosto turns him accordingly into an actual being of that name. We speak of the flights of the poets; Ariosto makes them literally flights--flights on a hippogriff, and to the moon. The moon, it has been said, makes lunatics; he accordingly puts a man's wits into that planet. Vice deforms beauty; therefore his beautiful enchantress turns out to be an old hag. Ancient defeated empires are sounds and emptiness; therefore the Assyrian and Persian monarchies become, in his limbo of vanities, a heap of positive bladders. Youth is headstrong, and kissing goes by favour; so Angelica, queen of Cathay, and beauty of the world, jilts warriors and kings, and marries a common soldier.

And what a creature is this Angelica! what effect has she not had upon the world in spite of all her faults, nay, probably by very reason of them! I know not whether it has been remarked before, but it appears to me, that the charm which every body has felt in the story of Angelica consists mainly in that very fact of her being nothing but a beauty and a woman, dashed even with coquetry, which renders her so inferior in character to most heroines of romance. Her interest is founded on nothing exclusive or prejudiced. It is not addressed to any special class. She might or might not have been liked by this person or that; but the world in general will adore her, because nature has made them to adore beauty and the sex, apart from prejudices right or wrong. Youth will attribute virtues to her, whether she has them or not; middle-age be unable to help gazing on her; old-age dote on her. She is womankind itself, in form and substance; and that is a stronger thing, for the most part, than all our figments about it. Two musical names, "Angelica and Medoro," have become identified in the minds of poetical readers with the honeymoon of youthful passion.

The only false acid insipid fiction I can call to mind in the _Orlando Furioso_ is that of the "swans" who rescue "medals" from the river of oblivion (canto xxxv.). It betrays a singular forgetfulness of the poet's wonted verisimilitude; for what metaphor can reconcile us to swans taking an interest in medals? Popular belief had made them singers; but it was not a wise step to convert them into antiquaries.

Ariosto's animal spirits, and the brilliant hurry and abundance of his incidents, blind a careless reader to his endless particular beauties, which, though he may too often "describe instead of paint" (on account, as Foscolo says, of his writing to the many), spew that no man could paint better when he chose. The bosoms of his females "come and go, like the waves on the sea-coast in summer airs."[47] His witches draw the fish out of the water

"With simple words and a pure warbled spell."[48]

He borrows the word "painting" itself,--like a true Italian and friend of Raphael and Titian, to express the commiseration in the faces of the blest for the sufferings of mortality

"Dipinte di pietade il viso pio."[49]

Their pious looks painted with tenderness.

Jesus is very finely called, in the same passage, "il sempiterno Amante," the eternal Lover. The female sex are the

"Schiera gentil the pur adorna il mondo."[50]

The gentle bevy that adorns the world.

He paints cabinet-pictures like Spenser, in isolated stanzas, with a pencil at once solid and light; as in the instance of the charming one that tells the story of Mercury and his net; how he watched the Goddess of Flowers as she issued forth at dawn with her lap full of roses and violets, and so threw the net over her "one day," and "took her;"

"un dì lo prese[51]."

But he does not confine himself to these gentle pictures. He has many as strong as Michael Angelo, some as intense as Dante. He paints the conquest of America in five words

"Veggio da diece cacciar mille."[52] I see thousands Hunted by tens.

He compares the noise of a tremendous battle heard in the neighbourhood to the sound of the cataracts of the Nile:

"un alto suon ch' a quel s' accorda Con che i vicin' cadendo il Nil assorda."[53]

He "scourges" ships at sea with tempests--say rather the "miserable seamen;" while night-time grows blacker and blacker on the "exasperated waters."[54]

When Rodomont has plunged into the thick of Paris, and is carrying every thing before him ("like a serpent that has newly cast his skin, and goes shaking his three tongues under his eyes of fire"), he makes this tremendous hero break the middle of the palace-gate into a huge "window," and look through it with a countenance which is suddenly beheld by a crowd of faces as pale as death:

"E dentro fatto l' ha tanta finestra, Che ben vedere e veduto esser puote Dai visi impressi di color di morte[55]."

The whole description of Orlando's jealousy and growing madness is Shakspearian for passion and circumstance, as the reader may see even in the prose abstract of it in this volume; and his sublimation of a suspicious king into suspicion itself (which it also contains) is as grandly and felicitously audacious as any thing ever invented by poet. Spenser thought so; and has imitated and emulated it in one of his own finest passages. Ariosto has not the spleen and gall of Dante, and therefore his satire is not so tremendous; yet it is very exquisite, as all the world have acknowledged in the instances of the lost things found in the moon, and the angel who finds Discord in a convent. He does not take things so much to heart as Chaucer. He has nothing so profoundly pathetic as our great poet's _Griselda_. Yet many a gentle eye has moistened at the conclusion of the story of Isabella; and to recur once more to Orlando's jealousy, all who have experienced that passion will feel it shake them. I have read somewhere of a visit paid to Voltaire by an Italian gentleman, who recited it to him, and who (being moved perhaps by the recollection of some passage in his own history) had the tears all the while pouring down his cheeks.

Such is the poem which the gracious and good Cardinal Ippolito designated as a "parcel of trumpery." It had, indeed, to contend with more slights than his. Like all originals, it was obliged to wait for the death of the envious and the self-loving, before it acquired a popularity which surpassed all precedent. Foscolo says, that Macchiavelli and Ariosto, "the two writers of that age who really possessed most excellence, were the least praised during their lives. Bembo was approached in a posture of adoration and fear; the infamous Aretino extorted a fulsome letter of praises from the great and the learned[56]." He might have added, that the writer most in request "in the circles" was a gentleman of the name of Bernardo Accolti, then called the _Unique_, now never heard of. Ariosto himself eulogised him among a shoal of writers, half of whose names have perished; and who most likely included in that half the men who thought he did not praise them enough. For such was the fact! I allude to the charming invention in his last canto, in which he supposes himself welcomed home after a long voyage. Gay imitated it very pleasantly in an address to Pope on the conclusion of his Homer. Some of the persons thus honoured by Ariosto were vexed, it is said, at not being praised highly enough; others at seeing so many praised in their company; some at being left out of the list; and some others at being mentioned at all! These silly people thought it taking too great a liberty! The poor flies of a day did not know that a god had taken them in hand to give them wings for eternity. Happily for them the names of most of these mighty personages are not known. One or two, however, took care to make posterity laugh. Trissino, a very great man in his day, and the would-be restorer of the ancient epic, had the face, in return for the poet's too honourable mention of him, to speak, in his own absurd verses, of "Ariosto, with that _Furioso_ of his, which pleases the vulgar:"

"L' Ariosto Con quel _Furioso_ suo the piace al volgo."

"_His_ poem," adds Panizzi, "has the merit of not having pleased any body[57]." A sullen critic, Sperone (the same that afterwards plagued Tasso), was so disappointed at being left out, that he became the poet's bitter enemy. He talked of Ariosto taking himself for a swan and "dying like a goose" (the allusion was to the fragment he left called the _Five Cantos_). What has become of the swan Sperone? Bernardo Tasso, Torquato's father, made a more reasonable (but which turned out to be an unfounded) complaint, that Ariosto had established a precedent which poets would find inconvenient. And Macchiavelli, like the true genius he was, expressed a good-natured and flattering regret that his friend Ariosto had left him out of his list of congratulators, in a work which was "fine throughout," and in some places "wonderful[58]."

The great Galileo knew Ariosto nearly by heart[59].

He is a poet whom it may require a certain amount of animal spirits to relish thoroughly. The _air_ of his verse must agree with you before you can perceive all its freshness and vitality. But if read with any thing like Italian sympathy, with allowance for times and manners, and with a _sense_ as well as _admittance_ of the different kinds of the beautiful in poetry (two very different things), you will be almost as much charmed with the "divine Ariosto" as his countrymen have been for ages.

[Footnote 1: The materials for this notice have been chiefly collected from the poet's own writings (rich in autobiographical intimation) and from his latest editor Panizzi. I was unable to see this writer's principal authority, Baruffaldi, till I corrected the proofs and the press was waiting; otherwise I might have added two or three more particulars, not, however, of any great consequence. Panizzi is, as usual, copious and to the purpose; and has, for the first time I believe, critically proved the regularity and connectedness of Ariosto's plots, as well as the hollowness of the pretensions of the house of Este to be considered patrons of literature. It is only a pity that his _Life of Ariosto is_ not better arranged. I have, of course, drawn my own conclusions respecting particulars, and sometimes have thought I had reason to differ with those who have preceded me; but not, I hope, with a presumption unbecoming a foreigner.]

[Footnote 2: See in his Latin poems the lines beginning, "Hæc me verbosas suasit perdiscere leges." _De Diversis Amoribus._]

[Footnote 3:

"Mio padre mi cacciò con spiedi e lancie," &c.

_Satira_ vi.

There is some appearance of contradiction in this passage and the one referred to in the preceding note; but I think the conclusion in the test the probable one, and that he was not compelled to study the law in the first instance. He speaks more than once of his father's memory with great tenderness, particularly in the lines on his death, entitled _De Nicolao Areosto_.]

[Footnote 4: His brother Gabriel expressly mentions it in his prologue to the _Scholastica_.]

[Footnote 5:

"Già mi fur dolci inviti," &c.

_Satira_ v.]

[Footnote 6: See, in the present volume, the beginning of _Astolfo's Journey to the Moon_.]

[Footnote 7:

"Me potius fugiat, nullis mollita querelis, Dum simulet reliquos Lydia dura procos. Parte carere omni malo, quam admittere quemquam In partem. Cupiat Juppiter ipse, negem."

_Ad Petrum Bembum._]

[Footnote 8: Panizzi, on the authority of Guicciardini and others. Giulio and another brother (Ferrante) afterwards conspired against Alfonso and Ippolito, and, on the failure of their enterprise, were sentenced to be imprisoned for life. Ferrante died in confinement at the expiration of thirty-four years; Giulio, at the end of fifty-three, was pardoned. He came out of prison on horseback, dressed according to the fashion of the time when he was arrested, and "greatly excited the curiosity of the people."--_Idem_, vol. i. p xii.]

[Footnote 9:

"Che debbo fare io qui? Agli usatti, agli spron (perch'io son grande) Non mi posso adattar, per porne o trarne." _Satira_ ii.]

[Footnote 10: "Per la lettera de la S.V. Reverendiss. et a bocha da Ms. Ludovico Ariosto ho inteso quanta leticia ha conceputa del felice parto mio: il che mi è stato summamente grato, cussi lo ringrazio de la visitazione, et particolarmente di havermi mandato il dicto Ms. Ludovico, per che ultra che mi sia stato acetto, representando la persona de la S.V. Reverendiss. lui anche per conto suo mi ha addutta gran satisfazione, havendomi cum la narratione de l'opera the compone facto passar questi due giorni non solum senza fastidio, ma cum piacer grandissimo."--Tiraboschi, _Storia della Poesia Italiana_, Matthias' edition, vol. iii. p. 197.]

[Footnote 11: _Orlando Furioso_, canto xxix, st. 29.]

[Footnote 12: See the horrible account of the suffocated Vicentine Grottoes, in Sismondi, _Histoire des Republiques Italiennes_, &c vol. iv. p. 48.]

[Footnote 13:

"Piegossi a me dalla beata sede; La mano e poi le gote ambe mi prese, E il santo bacio in amendue mi diede.

Di mezza quella bolla anco cortese Mi fu, della quale ora il mio Bibbiena Espedito m'ha il resto alle mie spese.

Indi col seno e con la falda piena Di speme, ma di pioggia molle e brutto, La notte andai sin al Montone a cena." _Sat_. iv.]

[Footnote 14: See _canzone_ the first, "Non so s'io potrò," &c. and the _copitolo_ beginning "Della mia negra penna in fregio d'oro."]

[Footnote 15: _Histoire Litteraire_, &c. vol. iv. p. 335.]

[Footnote 16: "Singularis tua et pervetus erga nos familiamque nostrum observantia, egregiaque bonarum artium et litterarum doctrina, atque in studiis mitioribus, praesertimque poetices elegans et præclarum ingenium, jure prope suo a nobis exposcere videntur, ut quae tibi usui futurae sint, justa praesertim et honesta petenti, ea tibi liberaliter et gratiose concedamus. Quamobrem," &c. . "On the same page," says Panizzi, "are mentioned the privileges granted by the king of France, by the republic of Venice, and other potentates;" so that authors, in those days, appear to have been thought worthy of profiting by their labours, wherever they contributed to the enjoyment of mankind.

Leo's privilege is the one that so long underwent the singular obloquy of being a bull of excommunication against all who objected to the poem! a misconception on the part of some ignorant man, or misrepresentation by some malignant one, which affords a remarkable warning against taking things on trust from one writer after another. Even Bayle (see the article "Leo X." in his Dictionary) suffered his inclinations to blind his vigilance.]

[Footnote 17:

"Apollo, tua mercè, tua mercè, santo Collegio delle Muse, io non mi trovo Tanto per voi, ch'io possa farmi un manto

E se 'l signor m'ha dato onde far novo Ogni anno mi potrei piu d'un mantello, Che mi abbia per voi dato, non approve.

Egli l' ha detto." _Satira_ ii.]

[Footnote 18:

"Se avermi dato onde ogni quattro mesi Ho venticinque scudi, nè sì fermi, Che molte volte non mi sien contesi,

Mi debbe incatenar, schiavo tenermi, Obbligarmi ch'io sudi e tremi senza Rispetto alcun, ch'io muoja o ch'io m'infermi,

Non gli lasciate aver questa credenza Ditegli, che più tosto ch'esser servo, Torrò la povertade in pazienza"

_Satira_ ii.]

[Footnote 19: Panizzi, vol. i. p. 29. The agreement itself is in Baruffaldi.]

[Footnote 20: See the lines before quoted, beginning" Apollo, tua mercè."]

[Footnote 21: _Bibliographical Notices of Editions of

Ariosto_, prefixed to his first vol. p. 51.]

[Footnote 22:

"La novità del loco è stata tanta, C' ho fatto come augel che muta gabbia, Che molti giorni resta the non canta."

For the rest of the above particulars see the fifth satire, beginning "Il vigesimo giorno di Febbraio." I quote the exordium, because these compositions are differently numbered in different editions. The one I generally use is that of Molini--_Poesie Varie di Lodovico Ariosto, con Annotazioni_. Firenze, 12mo, 1824.]

[Footnote 23: _Italian Library_, p. 52. I quote Baretti, because he speaks with a corresponding enthusiasm. He calls the incident "a very rare proof of the irresistible powers of poetry, and a noble comment on the fables of Orpheus and Amphion," &c. The words "noble comment" might lead us to fancy that Johnson had made some such remark to him while relating the story in Bolt Court. Nor is the former part of the sentence unlike him: "A very rare proof, _sir_, of the irresistible powers of poetry, and a noble comment," &c. Johnson, notwithstanding his classical predilections, was likely to take much interest in Ariosto on account of his universality and the heartiness of his passions. He had a secret regard for "wildness" of all sorts, provided it came within any pale of the sympathetic. He was also fond of romances of chivalry. On one occasion he selected the history of Felixmarte of Hyrcania as his course of reading during a visit.]

[Footnote 24: The deed of gift sets forth the interest which it becomes princes and commanders to take in men of letters, particularly poets, as heralds of their fame, and consequently the special fitness of the illustrious and superexcellent poet Lodovico Ariosto for receiving from Alfonso Davallos, Marquess of Vasto, the irrevocable sum of, &c. &c. Panizzi has copied the substance of it from Baruffaldi, vol. i. p. 67.]

[Footnote 25: _Orlando Furioso_ canto xxxiii. st. 28.]

[Footnote 26:

"Inveni portum: spes et fortuna valete; Sat me lusistis; Indite nune alios."

My port is found: adieu, ye freaks of chance; The dance ye led me, now let others dance.]

[Footnote 27:

"The great Emathian conqueror bade spare The house of Pindarus, when temple and tower went to the ground," &c.]

[Footnote 28: This medal is inscribed "Ludovicus Ariost. Poet." and has the bee-hive on the reverse, with the motto "Pro bono malum." Ariosto was so fond of this device, that in his fragment called the _Five Cantos_ (c. v. st. 26), the Paladin Rinaldo wears it embroidered on his mantle.]

[Footnote 29:

"Io son de' dieci il primo, e vecchio fatto Di quaranta quattro anni, e il capo calvo Da un tempo in qua sotto il cuffiotto appiatto."

_Satira_ ii.]

[Footnote 30:

"Il vin fumoso, a me vie più interdetto Che 'l tosco, costì a inviti si tracanna, E sacrilegio è non ber molto, e schietto.

(He is speaking of the wines of Hungary, and of the hard drinking expected of strangers in that country.)

Tutti li cibi son con pope e canna, Di amomo e d' altri aromati, che tutti Come nocivi il medico mi danna."

_Satira_ ii.]

[Footnote 31: Pigna, _I Romanzi_, p. 119.]

[Footnote 32: _Epicedium_ on his brother's death. It is reprinted (perhaps for the first time since 1582) in Mr. Panizzi's Appendix to the Life, in his first volume, p. clxi.]

[Footnote 33:

"Le donne, i cavalier, l' arme, gli amori, Le cortesie, le audaci imprese, io canto,"

is Ariosto's commencement;

Ladies, and cavaliers, and loves, and arms, And courtesies, and daring deeds, I sing.

In Dante's _Purgatory_ (canto xiv.), a noble Romagnese, lamenting the degeneracy of his country, calls to mind with graceful and touching regret,

"Le donne, i cavalier, gli affanni e gli agi, Che inspiravano amore e cortesia."

The ladies and the knights, the cares and leisures, Breathing around them love and courtesy.]

[Footnote 34: The original is much pithier, but I cannot find equivalents for the alliteration. He said, "Porvi le pietre e porvi le parole non è il medesimo."--_Pigna_, p. 119. According to his son, however, his remark was, that "palaces could be made in poems without money." He probably expressed the same thing in different ways to different people.]

[Footnote 35: Vide Sat. iii. "Mi sia un tempo," &c. and the passage in Sat. vii. beginning "Di libri antiqui."]

[Footnote 36: The inkstand which Shelley saw at Ferrara (_Essays and Letters_, p. 149) could not have been this; probably his eye was caught by a wrong one. Doubts also, after what we know of the tricks practised upon visitors of Stratford-upon-Avon, may unfortunately be entertained of the "plain old wooden piece of furniture," the arm-chair. Shelley describes the handwriting of Ariosto as "a small, firm, and pointed character, expressing, as he should say, a strong and keen, but circumscribed energy of mind." Every one of Shelley s words is always worth consideration; but handwritings are surely equivocal testimonies of character; they depend so much on education, on times and seasons and moods, conscious and unconscious wills, &c. What would be said by an autographist to the strange old, ungraceful, slovenly handwriting of Shakspeare?]

[Footnote 37: See vol. i. of the present work, pp. 30, 202, and 216.]

[Footnote 38: Baruffaldi, 1807; p. 105.]

[Footnote 39:

"In casa mia mi sa meglio una rapa Ch'io cuoca, e cotta s' un stecco m' inforco, E mondo, e spargo poi di aceto e sapa,

Che all'altrui mensa tordo, starno, o porco Selvaggio."]

[Footnote 40: "Chi vuole andare," &c. _Satira_ iv.]

[Footnote 41:

"Se Nicoletto o Fra Martin fan segno D' infedele o d' cretico, ne accuso Il saper troppo, e men con lor mi sdegno:

Perchè salendo lo intelletto in suso Per veder Dio, non de' parerci strano Se talor cade giù cieco e confuso."

_Satira_ vi.

This satire was addressed to Bembo. The cardinal is said to have asked a visitor from Germany whether Brother Martin really believed what he preached; and to have expressed the greatest astonishment when told that he did. Cardinals were then what augurs were in the time of Cicero--wondering that they did not burst out a-laughing in one another's faces. This was bad; but inquisitors are a million times worse. By the Nicoletto here mentioned by Ariosto in company with Luther, we are to understand (according to the conjecture of Molini) a Paduan professor of the name of Niccolò Vernia, who was accused of holding the Pantheistic opinions of Averroes.]

[Footnote 42: Take a specimen of this leap-frog versification from the prologue to the _Cassaria_:--

"Questa commedia, ch'oggi _recitàtavi_ Sarà, se nol sapete, è la _Cassària_, Ch'un altra volta, già vent'anni _pàssano_, Veder si fece sopra questi _pùlpiti_, Ed allora assai piacque a tutto il _pòpolo_, Ma non ne ripostò già degno _prèmio_, Che data in preda a gl'importuni ed _àvidi_ Stampator fu," &c.

This through five comedies in five acts!]

[Footnote 43: In the verses entitled _Bacchi Statua_.]

[Footnote 44: Essays and Letters, _ut sup._ vol. ii. p. 125.]

[Footnote 45:

"Le lacrime scendean tra gigli e rôse, Là dove avvien ch' alcune sè n' inghiozzi."