(8)" Now had Orlando left that old man's son."] Compare Pulci, c. xxvii. st. 4-8. In the original Orlando's horse is named Vegliantino (Veillantin); but, though that appellation is sanctioned by the most ancient authority of romance, I have preferred the name which Ariosto has rendered so much more familiar to the modern reader.

(9) Hopeless desire," &c.] Dante makes the punishment of souls in limbo consist in desire without hope.

(

Sol di tanto offesi,

Che senza speme vivemo in desìo.

Inferno, c. 4.

(10) "Persian Falseron."] Called in some of the old romances, brother of Marsilius. See a former note.

(11) "Orlando roused by war's reechoing cries," &c.] Compare Morgante, c. xxvii. st. 47.

--E disse, “Hor non son' io più traditore!"

E cadde in terra morto, così detto.

(12) “O how unlike the chief," &c.] Morgante, canto xxvi. stanza 66 et seq.

-

Compare

""Twere long to tell" the history of the proud boasts and Judas kiss here alluded to, but which the

reader may find at large in a former canto of Pulci's

romance.

The death of the giant Ferrau or Ferragus, who forms so eminent a character in the list of Boyardo's and Ariosto's dramatis personæ, is merely alluded to by Pulci (c. xxiv. st. 16); but it forms a prominent incident in Turpin's Chronicle, and is transferred from thence to the poem of "La Spagna," the most ancient of the Italian romances derived from that fabulous See Ginguené, tom. iv. p. 193.

source.

(13) "But where the naked corse could none declare."] Compare Morgante, c. xxvi. st. 71.

(14) "Not he who fills the world's ill gotten throne."] The question may now be asked, "Who is he that fills the world's ill gotten throne?" And it is perhaps needless to anticipate the answer, viz. that this part of my poem was composed three summers ago.

(15) "So he,' of dames and knights, of arms and love, Of courtesies and high attempts,' who sung," &c.] Le donne e i cavalier', l'arme, gl' amori,

Le cortesie, le audaci imprese, io canto.

"Alphonso's praises."] Alphonso, Marquis of Este and Duke of Ferrara, the great patron of Ariosto, in compliment to whom the main object of the Orlando Furioso is made to consist in the union of Rogero and Bradamante, the reputed ancestors of his venerable family. M. Sismondi, in his late work on the Literature

of the south of Europe (tom. ii. p. 67), seems to be animated with something like a republican spirit of indignation at this instance of what he considers a base prostitution of the poetical dignity. But really, since this object is by no means forced upon the reader, but blends itself most naturally with the general design of the poem, I cannot admit the full justice of his virtuous anger. The latter part of this stanza alludes to several passages in the Orlando Furioso, wherein the poet laments the irruption of the Emperor Charles the Fifth into Italy; particularly the opening of the thirty-fourth canto, which is understood to refer to his Spanish and German armies.

O fameliche, inique, e fiere harpie,

Che all' accecata Italia, e d' error piena,
Per punir forse antiche colpe rie,

In ogni mensa alto giudicio mena! &c.

Orlando in Roncesvalles.

+

Canto the Fourth.

IMAGINATION, whose unbounded sight Can at one glance embrace all sea and land, Now swift pursues the dæmon's destined flight, Prompt to obey his master's last command, From high Montalban to those realms of night Where Pharaoh's old sepulchral temples stand, Where Guiscard and his greater brother bore Duke Aymon's banner on that Pagan shore (1).

Turbid and deep the mighty river flow'd,
Curtain'd in shades of evening; by whose side
Montalban's lords pursued their mazy road,
Listening the murmurs of that sullen tide:
When from the tomb, Sesostris' last abode,
Silent a darkling form was seen to glide,
The giant shadow of a knight and horse,

That onward seem'd to bear its threatening course.

"Be mine the adventure!" cried the younger peer,
And spurr'd, that vision new and strange to meet :
The gallant courser stopp'd in mid career,
And toss'd his mane, and, plunging, from his seat
Strove to shake off the rider; while the spear
Of that unearthly warrior, following fleet
The impulse lent, without a blow or wound,
Like some rude tempest hurl'd him to the ground.

Uncheck'd, as through the yielding air he pass'd,-
That wondrous spectre,—and o'er all things near
Breathed a damp chillness which the soul o'ercast
Of brave Rinaldo, long unused to fear:

It seem'd as hell had sent some poisonous blast,
Embodied in that image dark and drear,

To freeze the courage of the noblest knight

That e'er curb'd gallant steed or harness'd armour bright.