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
A foe at thy unlucky chance delighted.
I'll fight with thee on foot: there can redound,
In terms unequal, fame to no one knighted.'
Then, sword in hand, on foot they both address
Themselves to battle-furious, pitiless."

The second day closing as the first, on the third they meet again on horseback:

"Each knight embraces firm his levell'd lance,

And fixes steadily in saddle-seat,

Then åt full speed impetuously advance,

And on their echoing shields their weapons meet:

Ne'er rushes arrow through the air's expanse
With progress half so certain or so fleet;
Ne'er starts the barbed dart from cross-bow string
With half the vigour they together spring."

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.
Your ready armour hangs within a hall,

Not to deceive you,* which this place is near.
Then weighty Durlindana+ he let fall

Upon the gate, and striking, loud and clear,
'Pagans, (he cried,) know that Ferrau is dead!'
And from the chamber all the pris'ners led.

Into the hall the Count Orlando broke,

And found the armour of the barons there :
Each one his own with speed and courage took ;
More swift than pards or lions they prepare.
Then, as Orlando bade them, they forsook

The palace high, and straight descended where
The body of Ferrau, in rueful state,

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 :
Orlando rais'd his pennon, waving free,

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:
To drink and to refresh me I must close;
And if you be too weary to attend,

You may meanwhile, if so you please, repose.
Hereafter, at your leisure, I will end

This noble story of the Christian's foes,
And shew how Lazera by Charles was taken :-
By Christ's defence may we be ne'er forsaken."

The original of the four first lines is worth quoting:

"Signori io vò finir questo cantare,

Eire a bere, e rinfrescarmi alquanto:

E se voi stanchi fussi d'ascoltare,
Si vi potrete riposar in tanto."

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
Among the Pagans on the walls below;

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,
Serpents and clarions, barbarous harmony;

The shouts of Christians by the Moors were drown'd:
The trampling troops of rattling chivalry
Appear'd to sweep in silence o'er the ground
Amid the din of arms confusedly:
Darts, lances, stones, on every side assail;
And fall as thick as storm of pelting hail.

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
Against his monarch he could not restrain;
And while he strove his sword to disengage,
Sprang forward to the wrathful Charlemaine,

To slay him there; but that old leader sage,
Duke Namus, and the vigorous Danish lord,

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,
Yet tidings of him met with none to bring."
Orlando fear'd this tale some fraud might hide,
And answer'd thus to Hugo's questioning:
If what thou tell'st me now, indeed, be true,
Thy search in vain thou further would'st pursue.
Since I Orlando slew a year is past :-
Behold the sword of that unhappy chief!
If proof thou askest, here the proof thou hast,
And wise it were to yield the truth belief.'
Brave Hugo knew the weapon, and full fast

Spurr'd t'wards Orlando in despight and grief,
With sword in hand, and cried in bitterest hate,
'On thee will I revenge Orlando's fate!'

For nought he stay'd, and on the helmet smote,
But sever'd not the bright resisting steel.
Orlando struck him on his mailed coat

So gently, Hugo scarce the blow could feel;
Then bending o'er his saddle bow to note

His ireful mood, most playfully did deal
With his dear foe, who in his stirrups rose,
And on Orlando's casque dealt vengeful blows.
Still the firm helmet every stroke resisted,
Without impression on the surface made:
The Paladin return'd them as he listed,
Of injuring his cousin most afraid;
And oft amid the conflict he desisted,

To think how welcome truth might be bewray'd