hardly have surmised how great a poet had been lost in him.
If, on the other hand, the palm should be bestowed for mastery of art, it seems rather due to Ariosto, who handles his theme with more vigour, and has it more thoroughly under control. He is not obliged, like Tasso, to embellish his poem with episodes which, by their superior attractiveness, almost eclipse the main action: the few passages of the kind in the Orlando are strictly subordinate, and not among its principal ornaments. The chief artistic blots upon his poem could not well have been avoided. So completely, though unjustly, has he overshadowed his predecessor Boiardo, that we are apt to forget that his work is an example, unique in literature, of the successful continuation of another's. The adulation of the house of Este was an inheritance from his precursor; it is only to be regretted that, contrary to the example of Boiardo and the subsequent practice of Tasso, he should have given it disproportionate prominence. The incurable defect of the action of the Furioso is also a legacy from the Innamorato. Ruggiero, the real hero of Ariosto's part of the poem, wins the hand of Bradamante, and becomes the ancestor of the house of Este, by apostasy. The poem finds him a pagan, and leaves him a Christian. All that ingenuity can effect is employed to extenuate his desertion; nevertheless, the sympathies of every reader must be with the Saracen Rodomonte when he appears in the last canto to tax Ruggiero with his change of sides, and necessarily (for otherwise what would have become of the house of Este?) is slain for his loyalty, to the scandal of poetical justice.
That Ariosto, apart from his boundless invention and
