ral others, who follow Astolfo. At length the taunts of Ferrau draw Orlando to the field; and at night-fall neither party could be said to have the advantage: they promise to renew the fight next morning; and on returning within the walls, Ferrau rises in our esteem by his noble treatment of his illustrious prisoners, justifying the exclamation of Ariosto on a different occasion: "O gran bontà de' cavalieri antichi Eran rivali, eran di fe diversi," &c. Orlando Furioso, Canto I. which Spenser translated into his Fairy Queen. Next morning Ferrau is unhorsed. "But when Orlando saw him on the ground, He quickly from his lofty steed alighted : By my true faith, (he said,) thou hast not found The second day closing as the first, on the third they meet again on horseback: "Each knight embraces firm his levell❜d lance, Then at full speed impetuously advance, And on their echoing shields their weapons Ne'er rushes arrow through the air's expanse meet: With progress half so certain or so fleet; Ferrau, after a desperate struggle, is mortally wounded; and, before he dies, * begs Orlando to baptize him. The Paladin fetches water in his helmet, and complies; while the soul of the converted Pagan is seen by Charles and his host, at a distance, to ascend between two angels. The Emperor accordingly concludes that his nephew has fallen, but is soon undeceived. Orlando then puts on the helmet and armour of Ferrau; and thus disguised obtains entrance into Lazera, where he visits the Christian prisoners, and threatening and promising them * Boiardo represents Ferrau as invulnerable, excepting in one part of his side. in the Moorish tongue, in vain tempts their fidelity to the Emperor. This incident is not ill-contrived, though given, perhaps, in too much detail. The Pagans, in the mean time, mistake the dead body of Ferrau for that of Orlando. The prisoners, by the aid and advice of Orlando who at last discloses himself, contrive their escape: "Said Count Orlando, Now be silent all, And let not the vile Pagans overhear. Not to deceive you,* which this place is near. Upon the gate, and striking, loud and clear, Into the hall the Count Orlando broke, And found the armour of the barons there: The palace high, and straight descended where Was laid unheeded at the entrance gate." While the peers are harnessing themselves, Orlando hastens to the loftiest tower; and there upon his lance, to the army of Charlemaine, displays his emblazoned surcoat, thereby denoting that he, Astolfo, and the rest, are safe: Upon the lofty tower he far could see The sprinkling tents of valiant Charlemaine : That could be well beheld upon the plain. Long time upon the friendly host with glee His eyes were fix'd—he look'd and look'd again : At length he satisfied his greedy sight, And swift descended from the turret's height." The above is the last stanza but one of a Canto which ends in the following strain of simplicity almost amounting to the ludicrous, but at the same time very characteristic of the time and author: * “ A non mentire." Chaucer frequently says, "I will not lie." + His sword, so named. "Here, gentle lordings, I this tale suspend: You may meanwhile, if so you please, repose. This noble story of the Christian's foes, The original of the four first lines is worth quoting: There is a great reality about this; and it is not impossible that the poem was at first recited, or intended for recitation, in the same way as Chaucer's "Troilus and Cresseide,” and many other old productions of the same class in our own language. We may observe here also, that a Canto is seldom terminated without some prayer or religious allusion. Lazera is taken by assault, Orlando and the Paladins lending their aid within the walls. After an unsuccessful embassy from Marsilio, the Christians march against Pampeluna, defended by King Mazarigi and his son Isolieri. Charles remains seven years under its walls; and 'at length builds a wooden castle, or tower, overlooking them, from which to assail the enemy: its effects are thus vigorously described: "Now from the tower the Christians 'gan to throw Spears, shafts, and arrows, dealing wounds and death Crying, Long live the holy Christian faith, And long live Charles, its foes to overthrow: Long live the Church!" they cry, till out of breath : 'Perish Marsilio, and all those who set Their trust and strength in cursed Mahomet!' Within, without, loud instruments resound, The shouts of Christians by the Moors were drown'd: This tower is ultimately destroyed, with five hundred knights upon it. We now arrive at a very singular and prominent event in the story. Orlando, without the knowledge or consent of his uncle, orders an assault of Pampeluna, in which he fails, and in which Samson of Picardy, a great favourite with Charles, and five hundred more, are slain. The Emperor is highly incensed at this disaster; and when Orlando returns, losing all command of his temper, he strikes him on the face; "E tre gioccie di sangue gli usci, Di naso a Orlando." This is unquestionably a most unheroic incident; and it may seem strange, to those unacquainted with the manners of the age when the poem was written, that even a blow should have been inflicted, much less that the Emperor should give his nephew, literally, a bloody nose. The indignation of Orlando is thus related: "Orlando felt the blow, but not the pain; The pain was nothing: his resentful rage And while he strove his sword to disengage, To slay him there; but that old leader sage, Grasp'd the wild arm that held the vengeful sword." Orlando, like Achilles, withdraws in disgust to his tent, and afterwards from the camp. Under the name of Leonagio, he passes in disguise through the country of the Moors, and finally embarks for the East. After many difficulties, narrated in the most unaffected style, he obtains employment; and his first adventure is to overcome Amastante, and thus deliver a beautiful young damsel from a marriage with an old man. She presents the Paladin with a splendid suit of armour; and among it, "A glittering surcoat, skilfully ywrought With gold and precious stones, that daz'd the eyes: This with a face so beautiful she brought, Her look seem'd caught from early paradise." * Throughout, we have found some difficulties, in consequence of the numerous misprints occurring, and the obsolete and strangely spelt words employed. We have availed ourselves of no other dictionary than that of John Florio. London, 1611. The last line will remind the reader of, perhaps, the prettiest passage in the late tragedy of Mirandola. Orlando, for his services, in time is appointed commander of all the armies of the Soldan of Lamecho, being considered a Mahometan; and in the course of his wars, he lays siege to Jerusalem. At this period of the history, we learn that Alda, the wife of Orlando, informed of his long absence from the camp of Charlemaine, and in terror for his safety, had despatched his cousin Hugo, (a boy, when the Spanish war was undertaken,) with a large troop of followers, in search of him. They arrive at Jerusalem just before Orlando attacks it; and they agree to aid King Machidante in defence of the holy city. In a conflict under the walls, Orlando and Hugo encounter: the former, seeing that he is a Christian, asks Hugo his name and parentage : "I am, by blood, the cousin,' he replied, Of Count Orlando, nephew to our King, Whom I have sought long time, both far and wide, And answer'd thus to Hugo's questioning: past: Behold the sword of that unhappy chief! Spurr'd t'wards Orlando in despight and grief, For nought he stay'd, and on the helmet smote, So gently, Hugo scarce the blow could feel; His ireful mood, most playfully did deal To think how welcome truth might be bewray'd |