William Morris. Boiardo, though also purposing the panegyric of the house of Este, sings for the delight of singing, and introduces no incongruous fifteenth-century figures into his romantic pageant, Ariosto mars his epic by contemporary allusions, as Spenser and Tennyson marred theirs by far-fetched allegory. It must be remembered, in justice to him, that his perpetual adulation of the court of Ferrara seemed less extravagant then than now. To us the importance attached to a family which would be forgotten if Ariosto and Tasso had not swelled its retinue, and if Lucrezia Borgia^ had not married into it, borders on the absurd. It seems preposterous that hosts should be equipped, and giants and dragons and enchanters set in motion, and paladins despatched on errands to the moon, that Ariosto may compliment a cardinal whose want of culture rather than his penetration led him to rate these compliments at their worth. But in Ariosto's day that court was a bright and dazzling reality, and almost every member of his immediate circle depended upon it for his bread.
If we can forget his servility, or persuade ourselves to deem it loyalty, we shall find little to censure in Ariosto. Shelley's assertion that he is only sometimes a poet implies a narrow conception of the nature of poetry. Rather may it be said that he is always a poet, always fanciful, always musical, always elevated, though not always to a very great altitude, above the level of the choicest prose. It is true that he has nothing of the seer in his composition, that his perfect technical mastery is rarely either exalted or disturbed by any gleam of the light that never was on sea or land, that his poem is destitute of moral or patriotic purpose, and that his standard in all things is that of his age.
