Jerusalem, below that proper to an heroic poem. The romance and sorcery, though recommended to Tasso as introducing the supernatural, then considered indispensable to epic poetry, provoke criticism by their inconsistency. If the enchanters Ismeno and Armida could do so much, they might have done a great deal more. Ismeno has all the infernal hosts at his command, and makes hardly any use of them. Pluto is a most lazy and incompetent devil. Armida might easily have made her magic island impregnable. The whole contrivance of the enchanted wood, though full of descriptive beauties, is weak as poetical machinery; it could have offered no real obstacle to the Christians. And it is almost comical to observe that amid all the confusion the venerable Peter the Hermit knows perfectly well what is to happen, can remedy every misfortune when he chooses, and could have prevented it but for the convenience of the poet, more inexorable than the fiat of the Fates.
The merit of the Jerusalem, then, consists mainly in details whose beauty requires no exposition. Mention has already been made of the merit of the character-painting, which greatly surpasses Ariosto's. The latter's personages are in comparison puppets; Tasso's are living men and women. The passion of love in the three principal female characters is exquisitely painted, and admirably discriminated in accordance with the disposition of each. Erminia, in particular, calls up the sweetest image conceivable of womanly tenderness and devotion. Rinaldo is less interesting than he should have been; but Tancred is the mirror of chivalry; and the difficulty of delineating a perfect hero without provoking scepticism or disgust is overcome as nearly as possible in the character of Goffredo. The veteran Raimondo's insistence upon the
