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Just as he collected the materials of his poem from all sources, so he appropriated every word that seemed to serve his need. The vocabulary of Dante, Petrarch, and Boccaccio, the racy terms of popular poetry, together with Latinisms and Lombardisms, were alike laid under contribution. Yet these diverse elements were so fused together and brought into a common toning by his taste that, though the language of his poem was new, it was at once accepted as classical. When we remember AT PREMIO GAME I248 difficulties which in his days beset Italian composition, when we call to mind the frigid experiments of Bembo in Tuscan diction, the meticulous proprieties of critics like Speron Speroni, and the warfare waged around the Gerusalemme Liberatawe know not whether to wonder at Ariosto's happy audacities in language or at their still happier success.

His triumph was not won without severe labor. He spent ten years in the composition of the Furioso and sixteen in its polishing.

The autograph at Ferrara shows page upon page of alteration, transposition, and refinement on the first draught, proving that the Homeric limpidity and ease we now admire, were gained by assiduous self-criticism. The result of this long toil is that there cannot be found a rough or languid or inharmonious passage in an epic of 50, lines. If we AT PREMIO GAME I248 not discern in Ariosto the inexhaustible freshness of Homer, the sublime music of Milton, the sculpturesque brevity of Dante, the purity of Petrarch, or the majestic sweetness of Virgilian cadences, it can fairly be said that no other poet is so varied. None mingles strength, sweetness, subtlety, rapidity, rhetoric, breadth of effect and delicacy of suggestion, in a harmony so perfect.

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None combines workmanship so artistic with a facility that precludes all weariness. Whether we read him simply to enjoy his story or to taste the most exquisite flavors of poetic diction, we shall be equally satisfied. Language in his hands is like a soft and yielding paste, which takes all forms AT PREMIO GAME I248 the molder's hand, and then, when it has hardened, stays for ever sharp in outline, glittering as adamant. While following the romantic method of Boiardo and borrowing the polished numbers of Poliziano, Ariosto refined the stanzas of the former poet without losing rapidity, and avoided the stationary pomp of the latter without sacrificing richness.

He thus effected a combination of the two chief currents of Italian versification, and brought the octave to its final perfection. When we study the passage which describes the entrance of Ruggiero into the island home of Alcina, we feel the advance in melody and movement that he made. We are reminded of the gardens of Morgana and Venus; but both are surpassed in their own qualities of beauty, while the fluidity that springs from complete command of the material, is added. AT PREMIO GAME I248

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Such touches as the following: Again, this stanza, without the brocaded splendor of Poliziano, contains all that he derived from Claudian: Raphael, Correggio and Titian have succeeded to Botticelli and Mantegna; and as those supreme painters fused the several excellences of their AT PREMIO GAME I248 in a fully-developed work of art, so has Ariosto passed beyond his masters in the art of poetry. Nor was the process one of mere eclecticism. Intent upon similar aims, the final artists AT PREMIO GAME I248 the early sixteenth century brought the same profound sentiment for reality, the same firm grasp on truth, the same vivid imagination as their precursors to the task. But they possessed surer hands and a more accomplished method.

They stood above their subject and surveyed it from the height of conscious power. After the island AT PREMIO GAME I248 Alcina, it only remained for Tasso to produce novelty in his description of Armida's gardens by pushing one of Ariosto's qualities to exaggeration. The dolcezzawhich in Tasso is too sugared, has in Ariosto the fine flavor of wild honeycombs.

In the tropical magnificence of Tasso's stanzas there is a sultry stupor which the fresh sunlight of the Furioso never sheds. This wilding grace of the Ferrarese Homer is due to the lightness of his touch—to the blending of humorous with luxurious images in a style that passes swiftly AT PREMIO GAME I248 all it paints.

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It is not that Tasso has not invented a new music AT PREMIO GAME I248 wrung a novel effect from the situation by the impassioned fervor of his sympathy and by the majestic languor of his cadences. But we feel that what Tasso relies on for his main effect, Ariosto had already suggested in combination with other and still subtler qualities. The one has the overpowering perfume of a hothouse jasmine; the other has the mingled scents of a garden where roses and carnations are in bloom. Ariosto's pictorial faculty has already formed the topic of a paragraph, nor is it necessary to adduce instances of what determines the whole character of the Orlando Furioso.

Otherwise it would be easy to form a gallery of portraits and landscapes; to compare the double treatment of Andromeda exposed to the sea monster in the tenth and eleventh cantos, [44] to set a pageant in the style of Mantegna by the side of AT PREMIO GAME I248 Correggiesque vignette, [45] or to enlarge upon the beauty of those magical Renaissance buildings which the poet dreamed of in the midst of verdant lawns and flowery wildernesses. Therefore we find but little of landscape-painting for its own sake and small sympathy with the wilder and uncultivated beauties of the world.

His scenery recalls the backgrounds to Carpaccio's pictures or the idyllic gardens of the Giorgionesque school. Sometimes there is a magnificent drawing in the style of Titian's purple mountain AT PREMIO GAME I248, and here and there we come upon minutely finished studies that imply deep feeling for the moods of nature. Of this sort is the description of autumn [47]. The illuminative force of his similes is quite extraordinary. He uses them not only as occasions for painting cabinet pictures of exquisite richness, but also for casting strong imaginative light upon the object under treatment.

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